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THIS  BOOK  MUST  NOT  BE  TAKEN 
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25M-  7-89-891647 


FEXWICK    UMPLEBY 


DESIGN  TEXTS. 


A  Practical  Treatise  on 

TEXTILE  DESIGN,  CLOTH  CONSTRUCTION,  FABRIC 
ANALYSIS  AND  CALCULATIONS, 


X 


By  FENWICK  UMPLEBY, 

Chief  of  Departments  of  Cloth  Construction,  Design,  Analysis 

and  Weaving,  Lowell  Textile  School, 

Lowell,  Mass. 

Author  of  "  Textile  Design,"  "  Cloth  Analysis," 

and  ''Standard  Weaves." 


X 


ILLUSTRATED. 


a; 


LOWELL,  MASS.  i 

Printed  by  The  Lawler  Printing  Company. 

1910, 


Digitized  by  the  Internet  Archive 

in  2010  with  funding  from 

NCSU  Libraries 


http://www.archive.org/details/designtextsOOumpl 


DESIGN  TEXTS. 


THE  HAND  LOOM. 


The  process  of  weaving-,  either  on  the  hand  loom  or  power 
loom,  depends  upon  the  same  principles,  with  practically  the 
same  operations.  The  principal  parts  of  the  loom,  such  as  the 
lay,  which  is  used  to  beat  up  the  filling-;  thereed,  by  means  of 
which  the  warp  threads  are  kept  in  their  proper  position  ;  the 
heddles,  used  for  the  separation  of  the  warp  threads;  the  har- 
nesses, by  which  the  weaving  of  the  design  is  controlled  ;  the 
leese  rods,  used  to  keep  the  warp  threads  parallel  to  each  other, 
all  vary  but  little  in  either  loom.  The  shuttles  are  similar,  and 
the  warp  and  cloth  beams  serve  the  same  purpose.  The  quality 
of  work  differs  but  little,  although  the  production  of  the  power 
loom  exceeds  that  of  the  hand  loom.  This  is  due  to  the  fact  that 
the  driving  of  a  loom  by  power  allows  more  picks  to  be  introduced 
into  a  fabric  in  a  given  time  than  is  possible  by  the  hand  and  foot 
power  of  a  hand  loom. 

Weaving-  was  practiced  by  the  Egyptians,  although  little  is 
known  of  their  looms  or  the  manner  in  which  they  prepared  yarn 
for  the  loom.  The  discovery  of  a  few  wall  paintings  at  Thebes, 
among  which  were  representations  of  the  Egyptian  methods  of 
weaving  and  spinning,  gives  us  our  first  knowledge  of  ancient 
looms.  One  method  was  to  weave  the  fabric  in  a  horizontal  posi- 
tion, in  fact,  on  the  ground,  the  weaver  sitting  on  the  woven 
fabric.  Vertical  looms  were  also  used,  the  weaver  throwing  the 
filling  through  the  shed  by  means  of  a  rod.  On  the  end  of  this 
rod  was  a  hook,  to  which  the  filling  was  attached.  Two  weavers 
were  frequently  employed,  sitting  at  either  side  of  the  loom,  pass- 
ing the  rod  back  and  forth  through  the  shed. 

The  Greeks  and  Romans  used  vertical  looms  similar  to  the 
Egyptian.  The  cloth  was  woven  upwards,  the  warp  being  sus- 
pended from  the  top  beam  of  the  loom,  and  the  lower  ends  tied  in 
separate  portions  and  weighted  to  keep  the  threads  in  tension. 
The  filling  was  combed  into  position  by  means  of  a  comb  adapted 
for  the  purpose. 


DESIGN  TEXTS. 


The  present  hand  loom  is  made  upon  the  principle  of  the 
ancient  hand  loom  of  India.  Rude  in  construction  as  it  was,  the 
Indian  hand  loom  was  capable  of  producing  the  most  delicate  mus- 
lins, cloths,  shawls,  and  similar  fabrics.  The  "  mulmul  khas," 
or  King's  muslin,  was  so  delicate  that  a  specimen  of  cloth  ten 
yards  in  length  and  one  yard  in  width,  containing  1900  threads  in 
warp,  could  be  passed  through  a  small  ring.  The  fabric  weighed 
1S2  grains  to  the  yard,  or  approximately  38.5  yards  to  the  pound. 
The  yarn  used  was  equal  to  185s  cotton. 

The  hand  loom  was  constantly  improved  until  1773  A.D., 
when  the  first  attempt  to  drive  a  loom  by  power  was  made  at 
Glasgow,  Scotland,  a  Newfoundland  dog  working  in  a  race  wheel 
furnishing  the  required  power.  The  number  of  inventions  for 
the  hand  and  power  looms  is  so  great  that  it  is  almost  impossible 
even  to  list  them.  The  principal  events  in  the  development  of  the 
loom  of  the  present  time  are  : 

1199  Cloth  manufactured  at  Nottingham,  England. 
1307  Linen  manufacture  established  in  England. 
1510  Broad  looms  adopted. 
1589  Ribbon  loom  invented  by  the  Dutch. 
1667  Gobelin  manufactory  established  at  Paris. 
1676  Dutch  engine  loom  introduced  into  England. 
1678  M.  de  Gennes  presented  his  model  of  a  "  machine  for  mak- 
ing woolen  cloths  without  the  aid  of  a  workman." 
1687  Joseph  Mason  obtained  a  patent  for  an  engine  by  the  help  of 

which  the  weaver  may  do  without  the  draught  boy. 
1725  M.  Bonchon  invented  the  use  of  perforated  paper  for  work- 
ing the  draw  loom.     This  is  considered  the  origin  of  the 
Jacquard. 
1728  M.  Falcon  substituted  a  chain  of  cards  to  turn  on  a  prism  in 

place  of  the  perforated  paper  of  M.  Bonchon. 
1745  John   Kay  and   Joseph  Stell  obtained  a  patent  for  applying 

tappets  to  the  Dutch  engine  loom. 
1745  M.  Vancanson  applied  the  griffe  to  M.  Falcon's  invention, 

placing  the  apparatus  on  the  top  of  the  loom. 
1760  Joseph  Stell  obtained  a  patent  for  the  application  of  "sundry 
tappets  "  for  weaving  figures  in  the  Dutch  or  narrow  loom. 

1785  Dr.  Cartwright  obtained  a  patent  for  a  vertical  loom. 

1786  Dr.  Cartwright  obtained  a  patent  for  a  "weaving  machine," 
or  loom,  in  which  warp  and  filling  motions  were  first  at- 
tempted. 


DESIGN  TEXTS. 


1787  Dr.  Cartwrig-ht  obtained  a  patent  for  improvements  in  his 
power  loom.  These  comprised  a  spring-  picking  motion,  a 
stop  motion  when  shuttle  fails  to  enter  box,  temples,  plyers, 
etc. 

1788  Dr.  Cartwright  applied  cams  for  variable  motion  to  the 
batten. 

1792  Dr.  Cartwright  obtained  a  patent  for  a  change  shuttle  box, 

an  engine  for  raising  a  pile,  and   circular  knives  for  cutting 

the  pile. 
1790  Robert  Miller  patented   the  "wiper"  power  loom,  so  called 

from  the  driving  of  the  picking  and  treadle  motions  by  cams, 

or  "wipers." 

1801  Jacquard  exhibited  his  loom  at  the  French  Exhibition. 

1802  Redcliffe  invented  the  "Dandy  Loom." 

1805  Johnson  and   Kay  patented   revolving  temples,  and  applied 

projections  on  picking  cams. 
1812  The  weaving  of  three-ply  carpets  patented  by  Thomas  Lee. 

1834  L.  and  J.  Smith  patented  a  method  of  picking  from  the  crank 
shaft,  which  was  the  forerunner  of  the  scroll  pick. 

1835  John  Osbaldston  patented  the  manufacture  of  heddles  from 
twisted  brass  wire. 

1841  Kenworthy  and  Bullough  patented  a  roller  temple  and  a  fill- 
ing stop  motion,  both  in  present  use. 

1842  A  method  of  weaving  velvet  or  looped  surfaces  patented  by 
R.  W.  Sevier. 

From  1842  to  the  present  time  the  number  of  improvements 
has  increased  wonderfully,  resulting  in  the  present  almost  per- 
fect power  loom.  The  hand  loom,  although  still  used  in  many 
countries,  is  being  steadily  replaced  by  the  more  productive  power 

loom. 

HARNESS,  HEDDLES,  AND  EYES  OR  MAILS. 

Before  commencing  the  study  of  Textile  Design,  some  know- 
ledge of  the  principles  and  working  of  a  hand  loom  should  be 
obtained.  The  first  step  in  this  direction  is  to  consider  the 
arrangement  of  the  warp  threads  in  the  heddles  or  the  harnesses, 
or,  as  it  is  termed,  "  warping  and  dressing,"  and  the  next  will  be 
the  method  of  actuating  the  harnesses  by  means  of  a  chain,  or  the 
order  in  which  they  are  arranged  to  produce  the  required  pattern. 

In  this,  as  in  all  other  work,  there  must  be  some  recognized 
means  of  conveying  or  indicating  the  order  in  which  the  threads 
must  be  drawn  through  the  harness. 


DESIGN  TEXTS. 


When  the  weaver  is  standing  in  front  of  the  loom,  whether 
hand  or  power,  the  harnesses  are  in  front  of  him,  as  in  Fig-.  1, 


C 


£*^X^ 


Fig.  1. 
which  represents  a  common  hand  loom,  such  as  is  adapted  for 
plain  weaving-.  It  consists  of  four  wooden  posts  framed  tog-ether 
at  the  top  by  two  long  cross  pieces.  The  two  long  pieces  C  C  are 
called  the  capes  of  the  loom.  Between  the  two  pairs  of  posts, 
forming  the  ends  of  the  loom,  are  placed  two  cylindrical  beams, 
the  beam  A  being  the  warp  beam,  upon  which  the  warp  is  wound, 
and  B  the  cloth  beam,  upon  which  the  cloth  is  wound  as  it  is 
woven. 

The  warp  threads  are  placed  parallel  to  each  other,  as  before 
described,  and  are  carried  from  the  warp  beam  A  and  attached  to 
the  cloth  beam  B.  This  is  done  by  threading  the  knotted  ends  of 
the  threads  upon  a  small  rod,  and  wedging  it  into  the  slot  or 
groove  formed  in  the  beam  for  that  purpose,  as  shown  at  X  in 
Fig.  2. 

In  order  to  keep  the  threads  in  their  relative  positions  and 
parallel  to  each  other,  two  rods  D  D  are  inserted  between  the 
warp  threads  in  such  a  manner  that  each  thread  passes  over  one 
of  the  rods  and  under  the  other  alternately,  as  shown.  Thus  a 
cross  or  leese  is  formed  by  the  threads  between  the  two  rods, 
which  not  only  keeps  the  threads  in  proper  order,  but  enables  the 


DESIGN  TEXTS. 


weaver  to  detect  with  ease  the  proper  position  of  any  broken 
thread  that  he  may  have  to  repair.  This  arrangement  of  the 
threads  is  formed  during-  the  process  of  warping-,  or  warp  dress- 
ing, and  slashing. 

After  the  warp  has  passed  the  leese  it  is  then  passed  through 


Fig-.  2. 
the  heddles,  as  shown  at  H  in  Figs.  1  and  2.  The  heddles  are 
composed  of  a  number  of  threads  or  wires  threaded  between  laths 
or  harness  shafts.  Each  wire  or  thread  has  a  loop  in  the  middle, 
or,  instead,  an  eye,  called  a  mail  or  heddle  eye,  is  threaded  upon 
it,  through  which  the  warp  thread  passes.  There  are  two 
heddles  shown  at  H  H,  one  of  which  receives  every  alternate 
thread  of  the  warp,  and  the  other  receives  the  remainder.  Con- 
sequently, if  either  of  them  be  raised,  it  will  also  raise  the  warp 
threads  which  have  been  threaded  through  the  heddle  eye  or  mails. 

p 


Fig.  3. 


DESIGN  TEXTS. 


The  arrangement  of  the  warp  threads,  and  the  various  parts 
of  the  loom  which  operate  them,  may  be  best  understood  by 
referring-  to  Fig-.  3  on  page  7,  which  is  a  diagram  showing  each 
warp  thread  separately. 

In  Fig.  3  the  harness  shafts  are  shown  connected  and  bal- 
anced by  cords  passing  over  pulleys,  P  P,  and  the  lower  part 
attached  to  the  treadles  T.  The  right  treadle  is  shown  de- 
pressed, consequently  it  raises  the  other  treadle  and  the  harness. 
Thus  half  of  the  warp  can  be  alternately  raised  for  the  passage  of 
the  shuttle. 

The  warp  is  kept  in  tension  by  means  of  weights  connected 
to  a  rope  passing  once  or  twice  round  the  warp  beam.  The  cloth 
beam  is  provided  with  a  ratchet  wheel  and  pawl  M,  also  with  a 
handle  Z,  for  winding  on  the  cloth  as  it  is  woven. 

In  Fig.  3  only  one  each  of  the  leeses  is  shown,  but  as  there 
must  be  one  to  each  pair  of  warp  threads,  the  required  number 
must  be  provided  for.  Thus,  if  there  are  500  threads  per  inch 
in  the  width  of  the  cloth,  there  must  be  250  leeses  per  inch  in  the 
warp,  or  250  threads  per  inch  on  each  harness.  But  as  the 
heddles  are  composed  of  material  much  thicker  than  the  warp 
threads,  they  necessarily  take  up  more  room,  and  could  not  be 
placed  upon  one  pair  of  harnesses  in  weaving  fine  warps.  In  such 
cases  more  harnesses  are  used,  each  having  its  share  of  the 
threads,  and  half  of  them  are  raised  at  once,  so  as  to  raise  one- 
half  of  the  warp  threads. 

THE    HAND    LOOM. 

1.  How  do  the  principles  of  weaving  on  the  hand  loom  and 
power  loom  differ? 

2.  Give  the  uses  of  the  following  parts  of  a  hand  loom: — The 
lay,  reed,  heddles,  harnesses,  leese  rods. 

3.  How  does  the  production  and  quality  of  work  of  a  hand 
loom  compare  with  that  of  the  power  loom? 

4.  What  is  the  warping  and  dressing? 

5.  What  are  the  uses  of  the  warp  and  cloth  beams? 

6.  Give  a  short  description  of  the  construction  and  uses  of 
heddles. 

7.  Make  a  diagram  showing  the  arrangement  of  the  warp 
threads,  and  the  various  parts  of  the  loom  which  operate  them. 


DESIGN  TEXTS. 


8.  Make  a  sketch  showing-  the  lifting-  of  a  harness  by  the 
treadle. 

().     How  is  the  warp  kept  in  tension?     Illustrate  by  a  sketch. 

THE    DESIGN    PAPER. 

There  are  three  primary  elements  in  textile  design :  1st,  the 
weave  ;  2nd,  amalgamation  and  combinations  of  weaves  and  form  ; 
3rd,  the  mixing  and  blending  of  colors  as  applied  to  textile  fabrics. 
These  three  elements,  either  separately  or  connectedly,  are  the 
principal  factors  in  all  woven  fabrics. 

The  object  to  which  a  design  is  tc  be  applied  is  of  the  utmost 
importance  ;  the  designer  must  know  the  uses  to  which  the  fabric 
is  to  be  applied  and  the  purposes  it  is  intended  to  serve.  Search- 
ing the  dictionaries  as  to  the  true  meaning  of  4k  design,"  we  find 
that,  in  its  broadest  sense,  "  design  "  is  a  sketch  or  a  plan.  But 
this  interpretation  of  design  as  applied  to  cloth  construction  is  not 
all  that  is  necessary.  When  an  architect  draws  the  plan  of  a 
house,  a  draughtsman  the  plan  of  a  machine,  or  an  engineer  the 
plan  of  a  bridge,  be  first  studies  out  the  convenience  of  arrange- 
ment, the  conditions  as  to  strength,  durability,  and  utility,  and 
other  requirements  which  are  necessary  to  the  purpose  to  which 
they  are  to  be  applied,  and  it  is  indispensable  that  all  these  par- 
ticulars be  considered  in  their  entirety.  Therefore,  a  textile 
design,  or  the  design  of  a  woven  fabric  and  its  specification  when 
complete,  is  a  perfect  working  plan,  descriptive  and  illustrative  of 
the  arrangement  and  character  of  all  the  component  parts  and 
processes.  It  describes  the  different  materials,  as  to  quality  and 
kind,  character,  size,  and  color  of  the  yarn,  gives  the  arrangement 
of  the  threads,  also  quantities  and  proportions.  The  design  illus- 
trates the  construction  of  the  fabric,  and  the  specification,  or  lay 
out,  describes  special  processes  and  operations.  To  be  complete 
and  perfect,  it  should  be  so  comprehensive  that  any  qualified 
manager  could  produce  the  desired  fabric  from  it  without  any 
further  instructions.  If  it  is  required  that  working  plans  for  a 
house,  machine  or  bridge  should  be  produced  with  neatness  and 
precision,  surely  these  requisites  are  much  more  necessary  in  a 
textile  design,  which  should  be  made  with  a  perfect  knowledge  of 
that  which  pleases  the  eye  ;  in  fact,  all  of  which  should  combine  to 
produce  an  artistic  piece  of  work. 

We  commence  our  studies,  therefore,  with  a  faint  idea  of 
what  a  design  should  consist,  but  assuming  ourselves  to  be  ignor- 
ant of   the  whole  subject,  so  that  the  detail  and  elementary  princi- 


10 


DESIGN  TEXTS. 


pies  can  be  dealt  with  and  their  practical  application  shown  in  the 
simplest  manner. 

USE  OF  SQUARED,  DESIGN,  POINT  OR  RULED  PAPER. 

This  paper  is  ruled  so  as  to  represent  a  series  of  squares 
surrounded  by  a  heavy  line.  These  squares  are  again  divided 
by  fainter  or  smaller  lines  into  eight  or  more  squares,  as  shown 
in  Fig-.  4. 

The  use  of  ruled  paper  is  a  mystery 
to  the  majority  of  people,  although  it  is 
exceedingly  simple  when  the  first  rudi- 
ments and  principles  are  understood. 
To  have  a  clear  and  proper  conception 
of  the  use  of  design  paper,  it  will  be 
necessary  for  the  student  to  divide  the 
squares  into  two  distinct  systems.  First, 
to  suppose  that  there  are  a  series  of 
vertical  and  no  horizontal  lines.  Second, 
that  there  are  a  series  of  horizontal  and 
no  vertical  lines. 
It  is  universally  understood  that  woven  fabrics  in  general 
have  two  systems  of  threads  ;  first,  the  warp  threads  ;  second,  the 
weft  or  woof  ;  the  weft  is  commonly  called  the  filling.  These  are 
the  two  requisite  things  to  form  the  plainest  or  most  elaborate 
woven  cloth. 


Fig.  4. 


WHAT  IS  THE  MEANING  OF  WARP  AND  FILLING? 

Warp  is  the  set  of  threads  that  runs  lengthwise  in  woven 
goods,  or  the  longitudinal  threads  that  are  drawn  through  the 
harness  and  reed  which  face  you  when  you  are  looking  at  a  loom 
that  is  weaving  a  fabric.  Warp  is  represented  on  the  design 
paper  by  the  vertical  or  perpendicular  series  of  small  squares. 

The  weft  or  filling  is  the  set  of  threads  put  in  by  the  shuttle, 
and  runs  from  one  side  of  the  cloth  to  the  other,  interlacing  the 
warp  at  right  angles,  and  is  represented  on  the  white  board  or 
design  paper  by  the  transverse  or  horizontal  series  of  small 
squares.  It  should  be  clearly  understood  that  these  two  systems, 
warp  or  vertical  squares,  Fig.  5,  filling  or  transverse  squares, 
Fig.  6,  form  the  fabric  or  design.  The  object  of  point  paper 
designing  is  to  reproduce  an  imitation  of  the  cloth  and  to  show 
the  method  of  interlacing  in  the  fabric. 


DESIGN  TEXTS. 


11 


The  error  that  is  usually  made  by  beginners  is  that  each 
\  square  is  thought  of  by  itself,  without  taking-  into  con- 
sideration that  each  line  of  squares, 


either  vertical  or  horizontal,  forms 
the  design. 

Another  object    of    the    ruled 


#1 


Fig-.  6.— Filling. 


Fiff. 


•  •    •     • 

-T-7--5-T 

-j—w—j-Ttr 

•  •    « "Tv 


12  3  4  5  6  7! 

Fig.  7. 
Plain  Weave. 


paper  is  to  enable  the  designer  to  show  a  plan  of  the 
fabric  exactly  as  it  would  appear  when  looking  down 
upon  it.  This  will  be  more  readily  understood  by  an 
examination  of  Fig.  7,  plain  weave,  which  may  be  woven 
5  on  two  harnesses.  This  is  always  called  the  plain  or 
warp.  cotton  Weave.  The  black  and  colored  pegs  on  the  design 
board,  or  marks,  crosses  or  dots  on  the  design 
paper,  will  always  represent  the  warp  threads  g 
raised,  unless  otherwise  specified. 

Tn  this  weave  there  are  only  two  movements,  c 
one  up  and  one  down;  the  threads  of  the  warp  are  a 
drawn  through  the  harness  as  follows:  First  thread 
through  the  eye  of  the  first  heddle  on  the  front  or 
first  harness;  second  thread  through  the  eye  on 
back  or  second  harness.  This  operation  is  repeated  over  and 
over  again,  until  the  whole  of  the  threads  of  the  warp  are  drawn 
through  the  harnesses.  The  1st,  3rd,  5th,  and  7th  are  drawn  on 
the  front  harness,  and  the  2nd,  4th,  6th,  and  8th  are  drawn  on  the 
back  harness.  The  harness  may  be  increased  to  4,  6,  or  8,  or 
any  even  number,  to  the  capacity  of  the  looms,  and  in  accordance 
with  good  judgment  as  to  the  crowding  of  the  threads  in  the 
loom. 

Fig.  8  is  a  sketch  of  the  enlarged  section  of  a  fabric  woven 
on  this  principle;  it  is  a  simple  interweaving  of  one  thread  alter- 
nately over  the  other. 

First  thread  or  harness  up  and  second  thread  or  harness 
down.  A  pick  of  filling  is  now  put  in  and  the  loom  changed  to 
the  second  pick.  By  inspection  a  filling  thread  is  seen  to  be 
laid,  under  the  1st,  3rd,  5th  and  7th  threads  and  over  the  2d, 
4th,  6th  and  8th  threads.  A  second  pick  is  put  in  and  the  lay 
of  the  loom  swung  over  the  next  pick.  Now  the  filling  thread  is 
laid  over  the  1st,  3d,  5th,  and  7th  threads  and  under  the  2d,  4th, 
6th,  and  8th  threads;  the  third  pick  will  be  like  the  first  and 
the  fourth  pick  will  be  like  the  second.  These  two  movements 
are  repeated  over  and  over  again  until  the  web  or  warp  is  woven 


12 


DESIGN  TEXTS. 


out.  This  constitutes  a  plain  weave,  and  the  appearance  of  the 
enlarg-ed  diagram,  Fig.  8,  is  somewhat  like  the  interlacing- of  the 
strips  of  willow  in  the  making  of  baskets  and  mats.  The  two 
systems    of  threads    cannot    be  seen    at    the    same    time  in  the 


Fig.  8. — Diagram. 

same  position  on  the  surface  on  the  cloth,  that  is,  when  a  fill- 
ing thread  is  seen  on  the  surface,  the  warp  over  which  it  goes 
must  be  covered;  thus,  if  a  black  pick  goes  over  a  white 
thread  it  is  the  black  pick  that  is  seen  on  the  surface  of  the 
fabric  and  covers  the  white  warp  from  view. 

Explanation  of  weave,  Fig.  7.  Notice  that  on  the  first 
thread  the  black  represents  warp  raised,  and  the  second  thread 
has  no  mark  which  signifies  that  this  thread  is  depressed; 
note  that  the  3d  and  4th,  5th  and  6th,  7th  and  8th  are  repeti- 
tions of  the  first  and  second  threads. 

Now  examine  the  filling,  A  and  B,   Fig.  7. 

A  is  represented  as  interlacing  under  No.  1  and  over  No. 
2,  under  No.  3  and  over  No.  4,  under  No.  5  and  over  No.  6, 
under  No.  7  and  over  No.  8.  B  is  represented  as  interlacing 
over  No.  1  and  under  No.  2,  over  No.  3  and  under  No.  4, 
and  so  on.  C  and  D,  E  and  F,  G  and  H  are  repetitions  of 
A  and  B.  To  thoroughly  understand  the  use  of  design  paper, 
the  main    fact    to  be  borne    in  mind  is  the    continuity  of  every 


DESIGN  TEXTS. 


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Fig.  9. 
Plain  Cloth,  Four  Repeats 


individual  thread,  either  in  the  warp  or  filling;  and  m  making 
a  design  the  leading  consideration  is  that  it  shall  be  so  ar- 
ranged, that  whatever  the  pattern,  it  shall  be  continuous  and 
unbroken,  on  the  same  principle  as  when  we  cover  our  walls 
with  paper,  or  floor  with  carpet,  the  pattern  must  join  per- 
fectly and   be  continuous,  or  the  broken,   irregular  pattern   will 

offend  the  eye. 

How  this  affects  the  design  will  be 
best  understood  by  a  close  study  of 
Fig.  9.  Nos.  3  and  4  are  a  repetition 
and  continuation  of  1  and  2,  5  and  6, 
of  3  and  4,  and  7  and  8,  of  5  and  6, 
and  soon.  Fig.  8,  as  previously  stated, 
is  an  enlarged  section  of  the  woven 
fabric  on  the  plain  or  cotton  cloth 
weave. 

Fig.  10  illustrates  the  principles  of 
the  vertical  and  transverse  lines  and 
construction  of  the  point  paper.  The 
vertical  stripes  in  Figs.  9  and  Id  cor- 
respond with  the  warp  threads  No.  1 
to  No.  8  in  Fig.  8,  also  the  trans- 
verse stripes  A  to  H  correspond  with 
the  filling  threads  A  to  II  in  Fig.  8. 
From  this  it  will  be  seen  that  each 
warp  thread  has  a  strip  of  squares 
and  that  each  filling  pick  has  a  strip 
Fig.  10 -Formation  ut  Design  Paper  of   squares  on   the   design    paper.      If 

point  paper  was  ruled  after  the  man- 
ner of  Fig.  10,  it  would  be  difficult  to  see  a  pattern  at  a  glance, 
as  the  profusion  of  lines  would  be  confusing.     To  overcome  this 
the   paper  is  ruled  without  the  spaces   between  the  threads,  as 
shown  on  Fig.  10,  but  the  spaces  are  represented  with  lines  as 
in  Fig    4.     So  we  must    understand    that  the  lines    do  not  rep- 
resent threads,  but  indicate  the  divisions  between  the  threads, 
and   it  is  this  that  enables  an  accurate  plan  of  cloth   to  be  made. 
When  this  strip  arrangement  is  fully   understood,  the   first 
principles  of  design  will  be  readily  overcome. 
POINTS    TO    BE    REMEMBERED 
First— The  small  lines  represent  places  of  intersection. 


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14  DESIGN  TEXTS. 


Second — A  mark,  cross,  or  dot  on  one  of  the  small  squares 
indicates  that  such  thread  is  raised — the  filling-  is  under  and 
the  warp  on  the  surface. 

Third — An  empty  space  or  small  square  represents  that 
the  filling  is  on   the  surface,   thereby  covering  the  warp. 

Fourth — That  the  black  lines  do  not  represent  threads  and 
picks,  but  indicate  divisions  between  them. 

Fifth — That  the  pattern  must  be  continuous  and  unbroken. 

PLAIN    CLOTH. 

A  plain  cloth  makes  a  very  strong-  and  firm  texture,  but 
it  is  not  a  very  close  or  heavy  fabric.  The  threads  do  not  lay 
as  close  or  compact  as  in  other  weaves.  If  a  plain  cloth  is  not 
fulled  or  shrunk  in  the  finish,  it  is  perforated  to  a  more  or  less 
degree,  according  to  the  size  or  twist  of  yarns  used.  These 
perforations  vary  greatly  under  different  conditions;  if  very 
heavy  or  coarse  threads  are  used,  the  perforations  will  be  large; 
if  finer  threads  are  used,  the  perforations  will  be  smaller. 
There  are  other  conditions  which  may  alter  and  change  the 
texture  of  the  plain  weave. 

Fig-.  11.    Cut  Section 

If  the  threads  are  twisted  hard,  the  result  is  a  wiry  and 
open  cloth,  but  if  the  structure  is  studied,  yarns  are  made  ac- 
cording to  the  requirements  and  the  fabric  brought  to  a  closer 
and  more  compact  texture.  There  is  an  important  matter  in  the  se- 
lection of  yarns,  that  is,  the  direction  of  the  twist.  It  is  noticed 
that  when  two  pieces  of  heavy  cord  or  rope,  of  the  same  twist, 
are  twisted  together,  they  will  interlay  or  become  imbedded  with 
each  other,  but  if  ropes  of  contrary  twist  are  twisted  together, 
they  do  not  lay  close  or  compact  and  there  are  large  perfora- 
tions. This  is  because  the  ridges  of  the  twist  cannot  lay  com- 
pact. These  are  some  of  the  first  and  important  considerations 
which  we  should  not  forget  in  the  construction  of  our  first  plain 
cloth. 

So  far,  we  have  been  studying  the  rudiments  and  foundation 
of  a  true  plain  fabric,  that  is,  a  fabric  where  the  warp  and  fill- 
ing are  equal,  both  as  to  size  of  yarn,  number  of  threads,  and 
picks  per  inch. 


DESIGN  TEXTS.  15 


THE  DESIGN  PAPER. 

1.  Describe  and  illustrate  the  ruling  of  design  paper. 

2.  Define  the  term  "warp." 

3.  (a)  How  is  warp  represented  on  design  paper? 

(/;)  How  is  warp   placed   in  the  loom?     Describe    fully. 

4.  Define  the  term  "filling-." 

5.  O)  How  is  filling  represented  on  design  paper? 

(b)  How  is  filling  placed  in  the  loom?     Describe   fully 

6.  What  is  the  object  of  point  paper  designing? 

7.  What  forms  the  design  on  design  paper? 

8.  What  is  the  plain  or  cotton  weave? 

9.  How  many  harnesses  are  required  for  the  plain  weave? 

10.  What  do  the  black  or  colored  squares  on  design  paper 
represent? 

11.  Give  a  complete  description  of  the  drawing-in  of  the 
first  and  second  threads  of  plain  weave. 

12.  Which  threads  in  a  "repeat  of  eight"  in  plain  weave 
are  drawn  in  on  the  front  harness?     On  the  back  harnesses? 

13.  Do  the  number  of  harnesses  used  in  plain  weave  ever 
exceed  two?     If  so,  why? 

14.  What  is  a  diagram? 

15.  Make  a  diagram  of  plain  or  cotton  weave  (six  threads 
and  six  picks). 

16.  Describe  fully  the  weaving  of  the  first  pick  in  plain 
weave. 

17.  Describe  fully  the  weaving  of  the  second  pick  in  plain 
weave. 

18.  How  does  the  third  pick  differ  from  the  first  and  second 
picks? 

19.  How  does  the  fourth  pick  differ  from  the  first  or 
second  picks? 

20.  Can  the  two  systems  of  threads  (warp  and  filling)  be 
seen  in  the  same  position  on  the  surface  of  the  cloth?  State 
your  reasons. 

21.  Describe  the  weaving  of  the  first  thread  in  plain  weave. 

22.  Which  threads  weave  over  the  first  pick  in  a  repeat  of 
eight? 

23.  Which  threads  weave  under  the  second  pick  in  a  re- 
peat of  eight? 

24.  Describe  the  continuity  of  a  pattern. 


16  DESIGN  TEXTS. 


25.  What  is  the  necessity  of  a  continuous  pattern?  Illus- 
trate by  the  cotton  weave. 

26.  («)  What  is  the  principle  of  the  vertical  lines  on  design 
paper? 

(b)   What   is   the    principle   of    the    horizontal    lines   on 
design  paper? 

27.  Describe  the  principles  of  the  construction  of  design 
paper,  explaining-  the  meaning-  of  the  lines  and  spaces. 

28.  How  are  the  divisions  between  the  threads  shown  on 
design  paper? 

29.  State  what  the  following-  denote  on  design  paper: — 
Small  lines,  crosses,  an  empty  space. 

30.  What  is  the  effect  of  a  pattern  which  is  not  continuous? 

31.  Describe  the  texture  of  a  plain  cloth. 

32.  Compare  the  threads  of  a  plain  weave  with  other  weaves 
in  regard  to  compactness. 

33.  What  is  the  appearance  of  a  plain  cloth  if  not  subjected 
to  fulling? 

34.  Compare  two  plain  cloths,  one  woven  from  coarse  yarn, 
the  other  from  fine  yarn,  the  finishing  processes  being  omitted. 

35.  What  is  the  effect  of  a  hard  twisted  yarn  in  plain  cloth? 

36.  Compare  the  texture  of  two  plain  cloths,  one  woven  from 
yarns  of  similar  twist,  the  other  from  yarns  of  contrary  twist. 

37.  Which  of  the  cloths  in  question  36  will  be  the  more 
compact  in  texture? 

38.  Make  a  cut  section  of  the  first  pick  of  a  plain  cloth. 

39.  What  are  the  three  primary  elements  in  textile  design? 

40.  Define  the  word  "design." 

41.  What  are  the  principal  requirements  of  a  design? 

42.  Give  the  particulars  required  for  a  specification  of  a 
complete  design. 

43.  What  specifications  must  be  made  regarding  yarns  when 
designing  a  textile  fabric? 

44.  Is  art  considered  of  any  importance  in  textile  designing? 

45.  Name  five  cloths  woven  from  plain  weave. 

TWILLS  AND  DIAGONALS. 

After  the  plain  weave  has  been  thoroughly  understood,  the 
next  step  is  a  study  of  twill  weaves.  These  are  weaves  in  which 
the  intersections  of  the  warp  and  filling  threads  are  such  that 
they  produce  lines  diagonally  across  the  fabric,  either  from  right 
to  left   or   from   left  to  right,  at  an  angle  of  45  degrees.     The 


DESIGN  TEXTS. 


17 


simplest  twill  weave  that  can  be  constructed  is  one  for  three  har- 
nesses, variously  known  as  the  3-harness  twill,  prunella  twill,  and 
3-harness  doeskin.  These  names  vary  according-  to  the  nature 
of  the  material  or  the  relations  of  warp  and  filling  employed 
in  the  construction  of  the  particular  kind  of  fabric  referred  to. 

Fig.  12  is  an  illustration  of  this  simple  twill  weave. 


■  It  shows  the  three  different  positions  of  the  threads  to 
■  form  the  twill,  and,  as  in  plain  cloth,  it  must  be 
•   observed  that  whenever  the  warp  is  raised  an  indica- 


J    tion  is  made  in  the  corresponding  small  square  on  the 
Fitr.  12.        design,   and   thus  denoting    which    thread  is    elevated 
when  the  filling  pick  or  thread  is  inserted. 

Fig.  13  shows  an  enlarged  diagram  of  a  fabric  woven  upon 
this  principle.  It  will  be  noticed  that  the  warp  thread  No.  lis 
raised,  as  indicated  by  the  mark  in  the  small  square  at  the  left- 
hand  lower  corner  in  Fig.  12,  the  first  pick  A  passes  under  it  and 
over  Nos.  2  and  3.  On  the  second  pick  the  mark  is  on  the  second 
thread,  consequently  the  filling  thread  B  passes  over  No.  1,  under 
No.  2,  and  over  No.  3.  And  on  the  third  pick  the  mark  is  on  the 
third  thread,  therefore  the  third  filling  thread  passes  over  Nos.  1 
and  2  and  under  No.  3. 


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Fig.  14. 


Fig.   13. 


Fig.  14.  In  this  design  the  pattern  is  complete  within  a  given 
space,  and  it  makes  no  difference  to  what  proportions  the  design 
may  be  extended,  it  will  be  a  continuous  and  unbroken  repetition 
of  the  first  three  threads,  Nos.  1,  2,  3,  also  the  first  three  picks, 
A,  B,  C,  as  shown  in  design  No.  14.  If  Figs.  14  and  15  are 
examined,  the  conditions  are  quite  opposite,  and  it  will  be  noticed 


18 


DESIGN  TEXTS. 


that  it  is  a  simple  reversal  of  the  twill,  that  is,  the  warp  is  elevated 
two  threads  of  the  complete  design,  viz.:  the  first  two  threads 
are  raised  as  indicated  by  marks,  while  the 
third  thread  is  depressed — exactly  the  reverse 
of  Figs.  12,  13,  14. 

In  these  examples  every  three  threads  and 
picks  are  an  exact  repetition  of  the  first  three, 
and  any  number  of  threads  may  be  taken  from 
one  side  and  placed  on  the  other  side,  or  they 
may  be  taken  from  top  or  bottom.  The  twill  is 
continuous  and  unbroken 

Fig.  15 

In  the    absence    of  design    paper    there    are    other  ways  of 
indicating  a  weave.     Take  the  plain  weave  as  the  first  example: 

It    can   be   stated 


thus 


or 


written   1  up  and 
1  down. 

Second  exam- 
ple. The  3  har- 
ness prunella 
twill,  filling  flush, 
or  1  up  and  2  clown 

1 
or        _ 

Third  example. 
The  3  harness 
doeskin  twill, 
warp  flush,  or  2 
up  and  1  down,  or 


Fig.  10 


1 


The  word  up,  or  figure  above  the  line,  indicates  the  num- 
ber of  threads  to  be  raised  on  each  pick,  while  the  word  down, 
or  figure  below  the  line,  signifies  that  such  threads  must  be 
depressed  for  the  filling  to  pass  over. 

Twills  are  divided  into  two  classes,  those  which  are  even- 
sided  and  those  which  are  uneven.  The  even-sided  twills  are 
those  where  the  warp  and  filling  are  evenly  balanced.  By  ex- 
amination  of  Fig.  17   and    Diagram    18,  it  will    be  noticed    that 


DESIGN  TEXTS. 


19 


Fie.  17 


Fie.  18 

the  number    of    threads    raised    are    equal    to    the    number    of 

threads    depressed,   that    it  is  a  4-harness    twill,  and    that  each 

succeeding-  four  threads  and  picks  are  a  repetition  of  the  first 

four.     The    line  of    twill    is    continuous    and    unbroken.     This 

weave  is  called  the  4-harness  common  twill,  cassimere  or  shal- 

2 
loon  twill.     The  written   formula  is  2  up  and  2  down,  or 

The  uneven-sided  twills  are  of  two  kinds — those  on  an  even 
number  of  harness  and  those  on  an 
uneven  number  of  harness.  Fig.  19 
is  an  uneven-sided  twill  on  an  even  num- 
ber of  harness,  representing-  the  4  har- 
ness swansdown,  having  three-fourths 
of  the  filling  on  the  surface.     Formula, 

-•     The  reverse  of  this  weave  would 


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be -,  and  indicating  the  warp  surface 


weave,  commonly   called    the   crow  weave 

Fig.  20  represents  an  uneven-sided 
twill  on  an  uneven  number  of  harnesses. 
On  this  weave  it  will  be  noticed  that 
there  are  only  two  threads  raised,  while 
there  are  three  depressed.  Formula, 
2 


3 


This  weave  can  be  reversed  so 


that  the   conditions   would   be  opposite. 

3 
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20 


DESIGN  TEXTS. 


Attention  is  again  called  to  the  angle  of  the  twill.  It  is  con- 
tinuous and  unbroken  and  at  an  angle  of  45  degrees.  In  de- 
signing twills  always  begin  at  the  lower  left-hand  corner  of  the 
design  and  make  out  the  angle  of  the  twill  lor  the  full  number  of 
the  threads,  both  for  the  warp  and  filling.  Thus,  a  full  weave  of 
an  8-harness  twill  will  require  eight  threads  and  eight  picks  and 
eight  small  squares  each   way  of  the  design  paper. 

Each  design  should  be  carried  to  fully  twice  the  original 
number  of  threads  and  picks.  Study  each  side,  top  and  bottom. 
Also  study  the  termination  when  a  pattern  is  complete.  The 
number  of  threads  and  picks  to  complete  the  design  should  be 
seen  at  a  glance  and   in   repetition   it  should    be  continuous  and 

unbroken. 

Fig.  21  is  a  cut 
section  of  the  first 
pick  of  weave  in 
Fig.    15. 

Fig.  22  is  a  cut 
section  of  the 
second  pick  of 
weave  in   Fig.  15. 

Fig.  23  is  a  cut 
section  of  the 
third  pick  o  f 
weave  in   Fig.   15. 

Fig.  24  is  a  cut 
section  "showing 
the  three  picks  as 
they  would  appear 
in  the  cloth,  Fig.  15 


Fit 


Fig .24       "Qecfcfy,  tij  rfv-  b  foid&OirwiUued 


Fig.  25 


Fig.  25  is  a  cut  section  of  the  first  pick  of  weave  in  Figs.  17 
and   18. 


Mlk 


Fig.  26  is  a  cut  section  of  the  second   pick  of  weave  in  Figs. 
17  and  18. 


DESIGN  TEXTS. 


21 


& 


Pig-,  j; 

Fig.  27  is  a  cut  section  of  the  first  and  second  picks  combined 
of  Fig's.  17  and  IS. 


TWILLS  AND  DIAGONALS. 

1.  What   is  a  twill   weave? 

2.  What  angle  of  degree  is  most  commonly  used  for  twill 
weaves? 

3.  (a)  What  is  the  simplest  twill  weave  that  can  be  con- 
structed? 

(b)  Give  the  various  names  for  this  weave. 

4.  Make  a  diagram  of  two  repeats,  warp  and  filling  of  the 
weave  named   in  3b. 

5.  Should  twills  be  broken  or  continuous  in  the  repeat? 
State  the  reason  for  your  answer. 

(>.     Make  a  design   for  a  warp  flush,   3-harness   twill. 

7.  How  does  the  weave  in  question  U  compare  with  the 
weave  in  question  4? 

8.  In  the  absence  of  design  paper,  how  are  the  following 
weaves  expressed:— Plain,  3-harness  twill  warp  Hush,  3-harness 
twill  filling  flush? 

').     Define  the  terms  "up"  and  "down." 

10.  Name  the  two  classes  of  twills,  giving  an  example  of 
each. 

11.  Make  a  complete  design  and  diagram  of  the  cassimere 
twill. 

12.  Give  the  various  names  used  for  the  cassimere  twill, 
and  show  how  this  weave  may  be  expressed  in  the  form  of  a 
written  formula. 

13.  Make  designs  for  the  swansdown  and  crow  weaves. 

14.  Give  written  formula  for  weaves  in  question   13. 

15.  (a)   Make  a  design  two  repeats  warp  and   filling  of  the 

(b)  To  what   class  of   twills  does  this  weave    belong. 
1(>.     Give    the    method   in    full  for    designing  a  twill,    using 
as  an  example  the  3  up  and  3  down  twill. 


22 


DESIGN  TEXTS. 


17.  What  is  the  advantage  in  carrying  out  twills  to  twice 
their  repeat  warp  and  filling?     Describe  fully. 

18.  Make  cut  sections  of  the  first  pick,  second  pick,  third 
pick,  and  first,  second  and  third  picks  combined  of  the  2  up,  1 
down  twill. 

19.  Illustrate  by  cut  sections  the  difference  between  the 
prunella  and  shalloon  twills. 

20.  Make  designs  for  each  of  the  following  weaves: — Pru- 
nella, doeskin,  swansdown,  crow,  cassimere  and  basket. 


INTERSECTIONS,    INTERLACING,    INTERWEAVING, 
AND    CUT   SECTIONS. 

What  is  the  meaning-  of  intersecting,  interlacing,  and  in- 
weaving?     Take  the  plain   weave   for  an  example, —  •      If    a 

number  of  threads  are  taken  and  the  1st,  3d,  5th,  7th,  and  so 
on  lifted  and  the  2d,  4th,  6th,  8th,  and  so  on  depressed,  and 
between  these  sets  of  threads  a  pick  of  filling  is  introduced, 
we  should  be  interlacing  or  interweaving  the  warp  threads. 
What  would  be  the  result?  Figure  28  illustrates  the  section 
of  eight  warp  threads  in 
a  plain  cloth,  interwoven    , 

with  one   pick  of  filling,  4       5       6       7      8 

A.     We  have  1st  thread,  Pig.  28 

then  an  intersection  of  filling;  2d  thread,  then  intersected  by  fill- 
ing, thus:  1st  thread  and  one  intersection,  2d  thread  and  one 
intersection. 

The  answer  to  the  above  question  is:  Interlacing  and  inter- 
weaving is  inserting  the  filling  between  two  or  more  systems  of 
warp  threads,  while  the  intersection  is  the  space  occupied  by  the 
warp  or  filling  between  any  number  of  threads,  warp,  or  filling. 
On  the  design  paper  the  spaces  represent  the  warp  and  filling, 

while  the  lines  represent  the  intersections. 

1 


Take   the    next    example,   the     three-harness    weave, 

one  thread  up  and  one  in- 
tersection, two  threads 
down  and  one  intersection. 


Now   examine  the  cassimere  or  shalloon  twill, 


Notice 


DESIGN  TEXTS. 


23 


that  the   filling-  thread   interweaves   alternately  over  and  under 

two  warp  threads,  and  in  the  same 
order  the  warp  threads  interlace 
over  and  under  two  filling  threads. 


Fi,j.  30 


By   studying  the   weave, 


twill,    it   is   found  that  each 


two 


succeeding  filling  thread  does  not  pass  over  the  same 
warp  threads,  nor  does  each  consecutive  warp  thread  in- 
terlace over  or  under  the  same  two  filling  threads,  nor 
are  they  alternate  as  in  plain  cloth,  but  each  change  in  I 
regular  consecutive  order.  The  first  pick,  A,  interweaves 
over  the  threads  Nos.  1  and  2,  and  under  Nos.  3  and  4; 
the  2d  pick,  B,  passes  under  No.  1,  over  Nos.  2  and  3,  and 
under  No.  4  ;  the  3d  pick,  C,  passes  under  Nos.  1  and  2, 
and  over  Nos.  3  and  4;  the  4th  pick,  D,  passes  over  No.  1, 
under  Nos.  2  and  3,  and  over  No.  4.  The  5th  pick  is  a 
repetition  of  No.  1  and  so  on.  The  design  is  continuous 
and  unbroken,  each  thread  and  pick  advancing  one  before 
it  rises  to  the  surface  or  passes  to  the  back  of  the  fabric.  Pi?,  3i. 
It  is  this  order  of  interlacing  that  has  the  effect  of  producing 
in  the  cloth  distinct  twills  or  diagonal  lines  at  an  angle  of  45 
degrees. 

This  mode  of  interweaving  is  called  the  even  or  balanced 
system.  There  are,  as  in  the  plain  weave,  as  many  of  each 
system  of  threads  on  the  face  of  the  cloth  as  there  are  on 
the  back.  The  longer  the  intervals  that  the  warp  and  filling  are 
interwoven  and  interlaced,  the  more  material  may  be  introduced 
to  gain  weight  and  substance. 

Examine  the  three  weaves  under  consideration.  Plain 
weave  -one  up  and  one  intersection,  one  down  and  one  inter- 
section, or  two  threads  and  two  intersections.  As  shown  in  the 
lessons  on  the  plain  weave  that  when  constructed  on  the  truest 
principles,  warp  and  filling  of  the  same  size,  and  the  number  of 
threads  and  picks  per  inch  being  equal,  it  will  make  a  cloth  more 
or  less  perforated  according  to  the  material  used.  The  fabric 
would  be  built  to  withstand  wear,  tear,  and  friction,  but  bulk  and 
compactness  could  not  be  obtained.     Examine  the  three-harness 

twill, -■     There 

are  two  intersections 


24 


DESIGN  TEXTS. 


in  every  three  threads,  one  up  and  one  intersection,  two  down 
and  one  intersection,  allowing-  threads  Nos.  2  and  3  to  lie  close 
tog-ether  without   any   perforations. 


In   the   four-harness, 

Mm 


Fitr.  33. 


—   cassimerc    twill,    there   are   only 

two  intersections  on 
eve  ry  f ou  r  threads. 
Two  threads  up  and 
one  intersection,  and  two  threads  down  and  one  intersection, 
thus  giving  still  more  opportunity  to  gain  weight  and  compact- 
ss  of  texture,  as  an  examination  of  the  cut  section  No.  33  will 
show — in  the  first  pick,  the  first  and  second  threads  are  lying 
together  side  by  side,  then  an  intersection,  third  and  fourth 
threads  lying  together,  then  an  intersection,  and  soon,  consecu- 
tively  and  continuously.  The  three  weaves  on  twelve  threads 
and  their  intersections  stand  as  follows:  Plain  weave  Fig.  34,  12 
threads,  12  intersections;  three-harness  twill  P"ig.  32,  12  threads, 


Fitr.  34. 

8  intersections;  cassimere  twill  Fig.  33,  12  threads,  6  intersec- 
tions. 

Take  another  example:     The  four-harness  filling  flush  twill 
commonly  called  the  swansdown  weave:  one  up  and  three  down, 

3 
or   the   warp  flush  crow  weave, .       In     these     two    weaves 

there  are  only  two  intersections  on  four  threads,  and  there  are 
three  warp  threads  lying  close  together,  either  on  the  face  or 
back  of  the  cloth.  These  weaves  give  more  liberty  to  use  heavier 
material  or  a  greater  number  of  threads  in  the  warp  or  filling, 
according-  to  the  weave  used. 


Warp  Flush. 
Fig.  35. 


Fig.  36— Filling  Flush. 

These   are   items   that   must  be  considered  when  designing 
textile   fabrics. 


DESIGN  TEXTS.  25 


INTERSECTIONS,  INTERLACINGS,  AND  CUT  SECTIONS. 

1.  What  is  interlacing'  and  interweaving? 

2.  What  is  an  intersection? 

3.  Define  the  term  "cut  section, "  illustrating-  by  a  cut 
section  of  a  pick  of  filling  weaving  plain  with  eight  warp  threads. 

4.  How  is  an   interlacing  represented  on  design  paper? 

5.  How  is   an    intersection   represented  on    design    paper? 

6.  Make  a  cut  section  of  the  first  and   third    picks  of  the 

H !  bvi11- 

7.  What  is  a  cassimere  or  shalloon  twill? 

8  Make  a  cut  section  of  the  first  and  third  picks  of  the 
cassimere  twill. 

9.  How  does  the  third  pick  in  the  cassimere  twill  differ 
from  the  first? 

10.  Make  a  cut  section  of  the  first  thread  of  the  cassimere 
twill. 

11.  Describe  the  interweaving  of  the  first  four  picks  of  the 
cassimere  twill. 

12.  Give  the  method  of  producing  a  45°  twill,  illustrating  bv 

2       1 

13.  What  is  the  even,  or  balanced  system  of  interweaving? 
Describe  fully. 

14.  How  is  weight  and  substance  gained  in  the  even  system 
of  interweaving? 

15.  How  do  two  fabrics,  one  woven   plain,  the  other  2  up, 
1  down  twill,  compare  in  regard  to  weight  and  compactness? 

16.  Compare  the  fabrics  in  question  15  with  a  fabric  woven 
cassimere  twill,  for  weight  and  size  of  yarn. 

17.  How    many    intersections  are    there  in    twelve    threads 
each  of  the  three  weaves  in  questions  15  and  16? 

18.  Describe  the  difference  between  a  warp  flush  and  a  fill- 
ing flush  weave. 


26 


DESIGN  TEXTS. 


FANCY  DEGREE  TWILLS. 

The  student  must  not  confine  himself  to  what  are  commonly 
known  as  simple  twills,  but  should  find  out  how  many  designs 


liny 


■ 


Fig.  37. 


3  Fig-.  38. 


and  what  variety  he  can  produce  upon  a  given  number  of  threads. 
The  best  plan  in  going  about  this  work— and  this  holds  good  in 
every  branch  of  the  work— is  to  proceed  in  the  most  systematic 
manner. 

For  instance,  take  five  threads  as  a  base  and  work  out  as 


1  1 

i 

i 

— 

-4-  - 

- 

'-- 

I 

1 

-Hi 

i  M  i 

1 1 

T 

^     Fig.  39. 


im 


Fig-.  40. 


many  regular  twills  as  possible.  These  are  given  in  Figs.  37, 
38,  39,  40,  41,  and  42,  which  show  the  full  limit  in  producing  what 
are  commonly  known  as  "regular  twills"  on  five  harnesses. 

This  expression  "regular  twills"  must  be  understood,  as  it 
is  in  the  trade,  to  apply  to  twills  running  at  an  angle  of  45 
degrees,  and  with  no  fancy  figure  accompanying  it. 


DESIGN  TEXTS. 


27 


It  will  be  noticed  that  all  45-degree  twills  move  or  advance  1 
thread  to  the  right  until  the  full  repeat  of  the  weave  has  been 
obtained  and  can  be  worked  out  from  a  written   formula,  thus: 


Fig.  37, 

2      1 


;  Fig.  38, 


Fig.  39, 


Fig.  40, 


5  Fig. 


41, 


Fig.  42, 


1 


1  1'  "  "°"  '"'  1  2 
pick  of  each  design,  which  is  a  45- 
degree  twill,  but  when  the  twill 
is  irregular  there  must  be  another 
method  of  indicating  the  weave. 

For    instance,    Fig.    37    is    on    5 
harnesses    and    could    be    indicated 

or  1  +  I  +  1  +  1  +  1,  or  1,  the 


3'       b*      '  2'  "  "°"  '"'  r 

These  examples  refer  to  the  first 


move  number,  or 


1 


-4/i. 


The  weave   on  4   harnesses,   as 
shown  at  Fig.  43,  is    known  as  the  Fi*  43-  Fi^- 44- 

70-degree  steep  twill,  the  written  formula  is  1  -f-  0  +  0. 

The  terms  1  -f-  0  -\-  0,  etc.,  refer  to  the  position  of  the  points 
in  a  base  with  reference  to  one  another,  counted  horizontally  in 
the  example  given.  Thus,  in  Fig.  43  the  mark  on  the  first  pick 
is  placed  in  the  first  point  or  small  square,  that  on  the  second 
pick  moved  in  position  0,  /.  c,  in  the  same  position;  that  on  the 
third  pick  moved  0;  that  on  the  fourth  moved  1,  and  so  on 
throughout. 

Fig.  44.     weave  commencing  on  1st  pick. 

1  — (—  1         2d  pick  moves  1  forward. 
1  -j-  1  —  1         3d  pick  moves  1  in  opposite  direction. 
1         4th  pick  moves  1  forward. 

1  -^—  1         5th  pick  moves  1  forward. 
1  -\-  1  —  1         6th  pick  moves  1  in  opposite   direction,  and    so   on 
until  the  weave  begins  to  repeat.      Similarly  3  -\-  3  —  5  may  be 
commenced  at  any  point  as  shown  at  Fig.  45;  weave  on  0  harnesses 
-f-  3         1st  thread  and  1st  pick. 
—  5         moves  5  in  opposite  direction. 
-J-  3         moves  3  forward. 

Take  Fig.  45  as  an  example.  The  weave  is  on  (>  threads, 
therefore  the  counting  or  moving  must  be  worked  from  1   to  9. 


28 


DESIGN  TEXTS. 


Fig.  41. 


Fig.  42. 


Commencing-  at  the  1st  thread,  a  point 
is  placed  on  the  1st  square,  the  2d  pick 
is  marked — 5  or  5  in  the  opposite  direc- 
tion, or,  9,  8,  7,  6,  5,  hence  the  next  point 
is  on  thread  5.  The  3d  pick  is  marked 
-f  3  or  3  forward,  or  6,  7,  8,  the  third 
point  on  the  8th  thread;  the  4th  pick  is 
marked  +  3  or  3  forward,  then  9,  1,  2, 
fourth  point  on  2d  thread,  5th  pick  is 
marked  —  5  or  5  in  opposite  direction, 
then,  1,  9,  8,  7,  6,  fifth  point  on  6th  thread, 
and  so  on  throughout  until  the  weave 
repeats. 

The  next  step  in  the  work  is  to  pro- 
duce as  many  designs  as  possible  upon 
any  given  number  of  threads,  and  in 
doing  so  proceed  systematically,  as  in 
the  five-harness  examples,  first  with  1 
point,  then  with  2,  and  so  on,  until  a 
complete  series  of  simple  lines,  as  in 
Figs.  37  to  42,  has  been  run  through,  and,  according  to  the  num- 
ber of  threads,  open  out  the  space  between  the  lines  of  twill. 
Make  light  and  heavy  lines,  and  vary  them  until  there  is  no 
further  room  for  variation,  observing  the  repetitions  of  the 
pattern  in  the  reverse  order,  both  in  the  quantity  of  material 
which  comes  to  the  surface  and  in  the  position  of  the  twill. 

Diagrams  for  illustrating  the  construction  of  reclining  and 
steep  twills  are  shown  in  Fig.  46. 


Fig.  45. 


DESIGN  TEXTS. 


29 


Fig.   46. 

The    15°   reclining-   twill  is  formed  by   moving  4  points,   Fig.  47 
20°         3         ..  ..      48 


27°         „ 
35°         „ 

45°  Regular 

52°  Steep 
63°         „ 
70°         „ 
75° 


9 

l+2„ 

1 

1+1+0,, 

i+o„ 

i+o+o  „ 

1+0+0+0 


49 

50 
51 
52 
53 
54 
55 


30 


DESIGN  TEXTS. 


Fig.  47. 


Fig.  48. 


Fig-.  49. 


■■■ 


Fig.  50. 


Pig.  51. 


Fig.  52. 


Pig.  :3. 


Fig.  54. 


Fig.  55. 


Any  of  the  intermediate  degree  twills  can  be  formed,  accord- 
ing to  the  requirements  of  design. 


DESIGN  TEXTS.  31 


PLAN  OF  TWILL  MAKING. 

Work  out  weaves  from  the  following-: — 

12  2     2  3     3 

(1)  — - — ;move  1         (13)  ——-move  1         (25)  — = — -move  1 

2     v?  2     3  3     4 

12     3  234  34     5 

(2)  "  ^       move  1  (14)        -     -     4move  1  (26)        3     4     5move  l 

(3)L_1_45-  dS)^45"  (27)345-64S- 

(4,  L_l_  S2-  ll6)  L_l_  gr  (28)  L_i_  sr 

^3  3     4  4     4 

(5)^-^63-  (i7)__63'  (29)  -j- g<>3° 

(6)  i-  2-2  -3  70-  (18)  *^_  70-  (30)  L^L.  70- 

(7)  L_L_  45'  (,9)   *-_*,  45"  (31 )  1A_  «■ 

^      2      3  3      3  4      4 

(8)  ^—^-^—  -„  38°         (20)       /    c  38°  (32)  -— — -  38° 

222  v      y        4     3  4     o 

4     5  4     5  5     5 

(9)  -4—^7°  (21)   -5-^7°  (33)  ^^27° 


111        .-  ,-_222       .„„  _.      3 


.•>     .-> 


45° 


(10)        1     2     2  45°         (22.)       2     3     3  45°         ( 34  , 

111  222  333 

(ii)  -r-j-,82-     (23)  -^-3-3  sr     (35)     3  4  4s2- 

Ill  2     2     ^  333 

(12'   — ; — z— ^<»3°  (24)  ~     ~       63°  (36)   "      '     /-  ,63° 

v      '         1      2     2  v;2     3     3  344 

FANCY  DEGREE  TWILLS. 

1.  Define  the  term  "regular  twill." 

2.  How  many  regular  twills  may  be  woven  <>n  five  harnesses? 

3.  What  is  the  move  number  for  a  45°  twill? 

4.  To  what  does  the  written  formula  refer? 

5.  Indicate  two  methods  of  expressing  one  complete  repeat 
of  the  1  up,  4  down  twill. 

6.  Make  a  design  for  a  70°  twill  on  four  harnesses. 

7.  Make  designs  for  the  following: — Four  harness  — f-  1  — |—  1 
—  1 ;  nine  harness  4~  3  —  5  -f-  3 ;  five  harness  -f-  1  -f-  1  -(-  0. 

8.  Make  a  diagram  illustrating  15°,  20°,  27°,  38°,  45°,  52°,  63°, 
70°,  and  75°  twills. 

9.  Give  move  numbers  for  the  degree  twills  given  in  ques- 
tion 8. 


32  DESIGN  TEXTS. 


CUT  WEAVES. 

Combining  weaves  is  an  important  branch  of  designing.  Cut 
weaves  which  are  formed  by  a  combination  of  twills,  sateens,  or 
of  both  twills  and  sateens,  are  used  extensively  in  the  production 
of  trouserings,  suitings,  dress  goods,  damasks  and  Jacquard 
effects. 

The  cut  is  formed  in  three  different  ways: — first,  a  complete 
break  or  cut-off  should  be  made  when  reversing  the  position 
of  a  weave  or  at  the  point  where  two  weaves  are  joined,  if 
possible.  The  excessive  floating  of  threads  may  thus  be  avoided. 
Second,  when  a  sufficient  break  or  cut-off  cannot  be  made  with- 
out causing  two  much  of  a  float,  another  method  of  weaving 
for  one,  two,  or  three  threads  should  be  introduced  between 
the  weaves  to  form  the  cut-off.  Third,  avoiding  the  combi- 
nation of  weaves  of  too  great  a  difference  in  the  textures  to  be 
used  in  the  same  designs,  as  this  will  cause  the  fabric  to  weave 
either  too  loose  or  too  tight  according  to  the  weaves,  creating 
dissatisfaction  in  the  weaving  and  selling  of  the  fabric  and  greatly 
impairing  its   wearing   qualities. 

In  explanation,  Figure  56  is  an  example  of  a  cut  weave,  the 
cassimere  twill  being  combined  with  a  basket  to  give  a  stripe 
effect.  The  design  is  twelve  threads  cassimere  twill,  four 
threads  basket,  twelve  threads  cassimere  (left  twill),  four  threads 
basket,  or  a  total  of  thirty-two  threads.  With  a  solid  filling, 
the  basket  effect  would  be  preserved  in  both  stripes.  If,  how- 
ever, the  filling  is  run  two  and  two  of  different  colors,  the 
basket  effect  would  be  broken  in  one  of  the  stripes.  By  re- 
ferring to  Figure  56,  it  will  be  seen  that  the  first  basket  will 
weave  as  desired,  but  the  second  basket  will  be  broken  and 
appear  as  if  woven  pick  and  pick.  In  this  case  the  combination 
must  be  changed  so  that  the  basket  in  both  parts  of  the  design 
will  weave  alike.  Figure  57  shows  one  method  of  overcoming 
this  defect,  but  the  result  is  that  the  cut  is  not  perfect  in  the 
first  basket  stripe.  An  overshot  effect  is  given  which  spoils 
the  basket.  To  weave  this  design  on  thirty-two  threads,  change 
the  position  of  the  first  basket  weave  and  the  thread  on  either 
side  of  the  basket,  giving  the  design  in  Figure  58.  A  design 
for  a  stripe,  six  harness  twill,  and  basket  weave  is  given  in 
Figure  59.  These  figures  show  that  when  designing  stripes 
from  a  combination  of  twill  and  basket,  an  odd  number  of 
threads  of  twill  should   be  used,   generally  one  in   excess  of  the 


DESIGN  TEXTS. 


33 


Complete  the  Weaves  on  the  Accompanying 
Portions. 


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♦.%  •♦   *^*  -  »o  . 


■i  4 


r  a  tJ  *t  ■fffr^M 


K 


34 


DESIGN  TEXTS. 


Complete  the  Weaves  on  the  Accompanying 
Portions. 


DESIGN  TEXTS. 


35 


Complete  the  Weaves  on  the  Accompanying 
Portions. 


36  DESIGN  TEXTS. 


number  of  threads  in  one  repeat  in  order  that  the  basket  weaves 
should  come  in  the  same  relative  positions.  This  is  not  necessary, 
however,  when  a  solid  filling-  is  used  or  when  the  filling-  produces 
a   hit-or-miss  effect. 

Herringbone  effects  are  produced  by  using  a  warp  flush  twill 
for  a  desired  number  of  threads,  forming  the  cut  or  break,  and 
using  the  same  twill,  filling  flush  for  any  desired  number  of 
threads.  The  effects  produced  in  herringbone  stripes  are  un- 
limited in  number.  Figure  60  shows  a  simple  herringbone 
formed  from  the  cassimere  twill,  twelve  threads  right  twill,  six 
threads  left  twill,  six  threads  right  twill,  twelve  threads  left 
twill.  A  five  harness  herringbone  is  given  in  Figure  61;  a  six 
harness  in  Figure  62,  and  an  eight  harness  in  Figure  63.  "When 
reversing  regular  twills  repeating  on  an  even  number  of  har- 
nesses, the  break  should  be  made  either  at  the  completion  of, 
or  in  the  middle  of  the  weave.  This  is  shown  in  Figures  61,  62, 
and   63. 

The  combination  of  twills  and  ribs  require  the  use  of  a 
thread  weaving  plain  and  the  reverse  of  the  rib  or  cord.  This 
is  shown  in  Figures  64  and  65.  Frequently  two  threads  of  plain 
are   used   to   make  the  cut   more  prominent. 

Cut  diamond  effects  are  formed  by  a  method  similar  to  her- 
ringbones, the  same  principles  being  used  in  the  extension  of 
the  design  in  the  direction  of  the  filling  as  those  used  in  the 
direction  of  the  warp.  Figure  66  is  a  desig"n  for  a  herringbone 
stripe  cassimere  twill,  eight  threads  right  twill,  eight  threads 
left  twill  carried  out  for  eight  picks.  To  produce  a  cut  diamond 
effect,  form  a  cut  with  the  ninth  pick  for  sixteen  threads  and 
reverse  the  twill  as  in  a  herringbone  stripe.  Another  method 
of  forming  the  same  design  is  to  use  the  cassimere  twill  for  one 
quarter  of  the  design,  Figure  67,  form  the  cut  on  the  last  thread 
and  pick,  Figure  68  reverse,  the  twill  and  continue  to  the  extent 
of  the  design,  giving  the  result  in  Figure  69.  The  cuts  are  again 
made  and  the  twill  reversed  for  the  remaining  quarter  of  the 
design.     The   complete  design  is  given  in   Figure  70. 

Checkerboard  or  block  effects  may  be  woven  either  from 
twill  weaves  or  from  a  combination  of  twills  and  broken  weaves 
such  as  crowfoot  or  sateens  The  effect  desired  is  of  alternate 
squares  of  varying  colors  similar  to  a  checkerboard.  As  a  solid 
warp  and  a  solid  filling  is  generally  used,  the  different  effects 
must  be  produced  by  the  weaves.     Figure  71  illustrates  a  checker- 


DESIGN  TEXTS. 


37 


Complete  the  Weavks  on  thic  Accompanying 
Portions. 


38  DESIGN  TEXTS. 


board  effect  woven  from  the  swansdown,  and  crow  twills  and 
crowfoot  warp  and  filling-  flush  weaves.  The  method  of  construct- 
ing- this  design  is  similar  to  a  cut  diamond.  The  crow  twill  is 
used  for  that  part  of  the  design  first  requiring  a  warp  effect; 
the  cuts  are  formed  and  the  swansdown  and  crowfoot  weaves 
used  for  the  filling  effect  in  the  cloth.  The  cuts  are  made  and 
the  balance  of  the  design  filled  in  with  the  crowfoot  warp  flush 
weave.  A  design  using  twills  is  given  in  Figure  72,  and  a  fancy 
effect   with    twills  and   broken   weaves   in   Figure  73. 

CUT  WEAVES. 

1.  How  are  cut  weaves  formed? 

2.  Give  the  different  methods  of  forming  a  cut. 

3.  How  may  the  excessive  floating  of  threads  be  avoided? 

4.  Make  a  design  as  follows:  12  threads  cassimere  twill, 
4  threads  basket,  12  threads  cassimere  twill  left  twill,  4  threads 
basket  forming  a  cut  at  the  joining  of  the  several  weaves. 

5.  If  the  filling  in  the  design  in  question  4  is  picked  two 
black,  two  red,  would  the  basket  effect  be  preserved  in  both 
basket  stripes? 

6.  If  the  design  in  question  5  is  defective,  how  could  the 
defect  be  remedied? 

7.  What  is  the  general  rule  for  the  number  of  threads 
to  be  used  in  the  several  stripes  of  a  design  for  alternate  stripes 
of  twill  and  basket. 

8.  How  are  herringbone  effects  produced? 

9.  Make  a  design  for  the  herringbone  stripe  using  the  2 
up,  1  down,  1  up,  2  down  six  harness  twill. 

10.  Make  a  design  for  a  stripe  combining  an  eight  harness 
twill  and  rib. 

11.  How  are  cut  diamond  effects  formed? 

12.  Give  the  method  in  full  of  making  a  cut  diamond  from 
the  3  up,  3  down  twill,  illustrating  each  step. 

13.  What  are  checkerboard  effects? 

14.  Make  a    design    for  a    checkerboard    effect    using  four 
different  weaves. 

15.  Make  a    design  for   a    fancy  effect    from    the    prunella 
and  doeskin  weaves. 


DESIGN  TEXTS. 


39 


16.     Make    a    design    for    a    fancy    effect    using-    twills    and 
broken  weaves. 

DESIGN  FROM  A  WRITTEN  FORMULA. 

Suppose  a  design  is  required  similar  to  Fig".  74.     The  first 

question     is:    How     many 

threads     and      picks     are 

necessary  to  form  the  full 

design?     Second:    How 

many    threads    and    picks 

are  necessary  for  the  large 

body  square  at   the  lower 

left-hand   corner?    Third: 

How    many    threads    and 

picks    are    necessary    for 

the  small  border  squares? 

Fourth:   What  weave   will 

be   the   most   suitable    for 

the  required  fabric? 

A  design  should  never 

be    made    without    taking  Fl(?- 74- 

•  into  consideration  the   re- 

-Vquirements  of  each  opera- 
tion and  the  effect  to  be 
produced.  In  the  main 
body  in  the  square  of  Fig. 
74  the  twill  is  running  at 
an  angle  of  45°,  and  in  the 
small  squares  the  twill  is 
running  to  the  right  and 
left  in  alternate  squares. 
The  first  design  is  on  24 
threads  x  24  picks  in  one 
repeat  of  the  design. 

First.  Mark  off  design 
paper  to  the  required 
dimensions,  Fig.  75. 


y -  _-  _ , 

\11IHIII1I1I1I1III1I111J 

Fig. 


40 


DESIGN  TEXTS. 


Second.  How  many  threads  and  picks  are  necessary  for  the 
large  body  square  A  at  the  left-hand  lower  corner?  In  this  in- 
stance 18 x  18  are  required.       /  >. 


Mark  off  the  design  paper 
to  the  required  number  of 
threads  and  picks  (see 
Fig.  76). 

Third.  How  many 
threads  and  picks  are 
necessary  for  the  small 
border  squares  B  and  C? 
The  border  is  divided  into 
four  parts  of  6  threads  x  6 
picks  each  way  (see  Fig". 
77). 

Fourth.     On  examina-   % 
tion  of  the  skeleton  design       \ 
of  Fig.  77  it  can  be  divided  Pig.  76. 

into  four  sections,  1,  2,  3,  4,  as  shown  in  Fig.  78. 


A 


-(IJIIIIIIHj 

1  m  1 1 1 1 1 1 1 1> 

—        C                -<a 

.    ,    i>    .      .        -/a. 

j-          2«_ 

CL                Zc 

—                           -ii- 

zt 

Z   J- 

_j  a 

lz  : 

-Ji-     — 

It     _ 

AjH-llMllll 

H  1 1 1 1 1 1 1 1 1 1> 

Fifth.  Decide  what 
weaves  will  be  most  suit- 
able for  the  required 
'abric.  This  design.  Fig". 
74,  shows  a  fine  twill  or 
diagonal,  therefore  the  3- 
h.arness  twill,  filling  flush 

to   right,    which    we 

2 

will  class  weave  "Bl,"  and 
the   3-harness   twill,    warp 

to    left,    which 


flush 


1 


•ve    will    call    class    weave 
'T32,"  must  be  used. 


Fig.  77. 


DESIGN  TEXTS. 


41 


/6 


V 


&K 


I  2  3  4 

Fig.  78.  Fig.  79. 

To  construct  the  design  from  a  written  formula  or  problem. 

PROBLEM.  Dress  Goods  Design  (Fig.  79). 

24  threads  and  24  picks. 


Section  1. 

6  threads 
6        „ 

X 

18 
6 

picks 

>> 

Bl. 
B2. 

See 

first  section  Fig 

24 

Section  2. 

6 

>> 

24 

.. 

Bl. 

,» 

second     ,,           ,, 

Section  3. 

6 
6 

" 

18 
6 

24 

" 

Bl. 
B2. 

" 

third        ,,           ,, 

Section  4. 

6 
6 
6 
6 

,, 

6 
6 
6 
6 

" 

B2. 

Bl. 
B2. 
Bl. 

" 

fourth      ,,           ,, 

24 
DESIGN  FROM  A  WRITTEN  FORMULA. 

1.  Give  an  outline  of  the  process  of  laying-  out  a  design  from 
a  written  formula. 

2.  How  is  the  skeleton  design  divided? 

3.  What    determines    the    weaves    most    suitable    for    the 
required  fabric? 

4.  Construct  a  design  (24  x  24)  giving  a  check  effect, 

5.  Write  the  formula  for  the  design  in  question  4. 


42 


DESIGN  TEXTS. 


DRAFTING  AND  REDUCTION. 
How  to  Obtain  the  Fewest  Number  of  Working  Harnesses. 

This  is  an  important  section  pertaining-  to  designing,  and 
necessary  for  the  production  of  extended  patterns  on  a  limited 
number  of  harnesses. 

Though  presenting  no  hard  line  of  study  to  those  wishing 
to  understand  the  operation,  it  is  surprising  that  so  much  ig- 
norance exists  in  reference  to  it,  even  by  those  conversant  with 
the  art  of  weaving  in  other  respects.  Briefly  stated,  drafting 
takes  cognizance  of  two  or  more  threads  in  the  design  for  the 
pattern,  which  are  found  to  be  always  working  alike,  that  is, 
always  up  and  always  down  together  throughout  the  weaving 
operation,  and  unites  them  to  one  motion  or  harness,  instead  of 
employing  separate  harnesses  for  each  individual  thread.  By 
this  means  a  great  variety  of  effects  may  be  obtained,  and  large 
patterns  produced  in  looms  having  the  simplest  appliances. 
Especially  is  this  the  case  in  the  weaving  of  stripes,  in  looms 
capable  only  of  allowing  a  limited  number  of  harnesses,  and 
with  only  one  shuttle.  But  for  the  production  of  checks 
and  stripes  requiring  a  large  number  of  picks  and  threads  be- 
fore the  pattern  repeats,  the  Dobbyhead,  or  an  equivalent 
motion,  is  necessary  to  gain  it.  For  this  reason,  although  a 
design  may  be  drafted  so  as  to  employ  but  few  harnesses,  yet  the 
number  of  picks  cannot  be  reduced,  but  must  be  fully  carried 
out  to  the  extent  of  the  design. 

Having  reduced  the  design  to  the  lowest  number  of  requisite 
harnesses,  the  working  plan  or  chain  is  found  by  taking  the  con- 
secutive numbers  from  No.  1  to  the  highest  figure  shown  beneath 
the  design  and  placing  them  side  by  side  in  their  order,  accord- 
ing to  the  requirements  of  the  design,  so  that  they  shall  read 
1,  2,  3,  4,  5,  0,  7,  8,  and  so  on. 

This  will  be  seen  on  reference  to  Fig. 
80,  which  is  given  to  show  the  principle  of 
drafting  and  reduction  in  its  simplest  form, 
which,  however,  is  the  same  applied  to  all 
the  more  elaborate  patterns.  The  num- 
bers beneath  the  design  are  used  for  the 
purpose  of  obtaining  those  threads  that  are 
working  alike,  and  also  to  obtain  the 
nature  and  extent  of  the  draft. 


/ !  2>M 

*MH 

w      jd 

a     _PT 

t     JT 

c     nd 

"3          M. 

'A             H 

I25?r 

?jhi? 

DESIGN  TEXTS. 


43 


i 

5 

b 

•7- 

5 

If 

f 

i 

5" 

$ 

H- 

f 

• 

a 

9 

f 

a 

• 

• 

i 

m 

I 

8 

J 

4 

9 

k 

a 

% 

Fig-.  81  shows  the  drafting-  or  the 
threads  drawn  through  the  harnesses, 
as  taken  from  the  design,  and  the  num- 
bers beneath  correspond  with  those  found 
under  the  design.  The  horizontal  lines 
represent  the  harnesses  and  the  vertical 
lines  represent  the  threads. 

t'ig.  81. 

Explanation. —  Take  Fig.  80,  which  represents  a  diamond 
pattern.  The  design  stands  upon  8  threads.  See  numbers  on 
top.  Begin  at  the  bottom,  at  the  left-hand  corner,  and  note  the 
filled  spaces  of  each  thread,  which  means  their  manner  of  work- 
ing from  the  bottom  to  the  top.  When  two  or  more  threads  are 
marked  exactly  alike,  the  same  number  at  the  bottom  represents 
all  of  that  kind.  Thus  the  1st  thread  is  marked  No.  1,  and,  of 
course,  will  require  one  harness  to  work  it;  the  2d  thread  is 
working  different  to  the  1st,  and  will  require  another  harness, 
marked  No.  2;  the  3d,  4th,  and  5th  threads  are  again  different 
to  any  of  the  others,  and  so  will  require  each  different  harnesses, 
and  marked  Nos.  3,  4,  and  5.  The  6th  thread  is  marked  4  be- 
cause it  is  working  like  the  preceding  thread  marked  4,  the  7th 
thread  is  marked  3  because  it  is  like  the  preceding  thread  marked 
3;  and  the  8th  thread  is  marked  2  for  the  same  reason  that  it 
is  working  like  the  thread  marked  2.  The  numbers  under  the 
design  now  read  1,  2,  3,  4,  5,  4,  3,  2;  therefore  the  highest  num- 
ber is  five,  which  means  that  the  design  requires  five  harnesses 
to  weave  it.  Whatever  the  highest  number  may  be  it  represents 
the  number  of  harnesses  required.  In  this  example  five  are 
required,  and  five  parallel  lines  are  drawn  for  the  harnesses 
accordingly,  and  marked  up  the  side  1,  2,  3,  4,  5.  Now  proceed 
to  draw  vertical  lines  to  represent  the  threads  drawn  through 
the  harnesses  indicated  by  the  numbers  under  the  design,  and 
just  in  the  order  in  which  they  stand.  No.  1  is  drawn  upon 
the  first  harness,  No.  2  upon  the  second,  No.  3  upon  the  third. 
No.  4  upon  the  fourth,  No.  5  upon  the  fifth,  No.  6  again  upon 
the  fourth,  No.  7  upon  the  third,  and  No.  8  upon  the  second. 
See  Fig.  81. 


44 


DESIGN  TEXTS. 


'H 

C 

'  ^    \ 

"d 

■2 

A 

1 

5i 

k$ 

Fig.  82 


Having-  finished  the  draft,  the  next  proceeding1 
is  to  obtain  the  working-  plan  or  chain,  which  is  a 
reduction  of  the  design,  so  far  as  the  threads  are 
concerned.  In  this  case  the  consecutive  numbers 
from  1  to  5  are  found  together,  so  that  all  that  is 
required  is  to  copy  exactly  the  first  five  threads  of 
the  design  as  they  stand,  which  is  shown  at  Fig. 
82. 

The  next  examples  are  of  a  more  extended  and 
practical  character,  containing  mixed  weaves. 
For  the  purpose  of  gaining  the  working  plan  from  them,  use 
the  consecutive  numbers  from  No.  1  to  the  highest.  These 
are  not  found  to  be 
all  together,  a-;  in  Fig. 
80. 

Fig.  8  3  stands 
upon  24  threads  and 
4  picks,  and  consists 
of     three     different  Fig.  83. 

weaves,  each  weave  being 
twice  repeated,  so  that 
the  first  4  numbers 
under  each  different 
weave  must  be  taken  for 
the  working  plan  or 
chain,  which  ^ives  the 
numbers  consecutively 
as  1,  2,  3,  4,  5,  6,  7,  8,  9, 
10,  11,  12. 

Reference  to  Fig.  83 
Fig.  84.  will  explain  this.    Draw- 

ing-in  draft  at  Fig.  84.  This  design  re- 
quires twelve  harnesses  and  four  picks 
to  weave  it.     See  Fig.  85. 

There    is   another   consideration    in 
reference  to  drafting  which   it  is  neces- 
sary to  understand,  and  that  is,  it  fre-  Fig.  85. 
quently  happens  that  the  full  design  is  not  given,  only  the  draft 
and  working  plan,  so  that  the  figure  intended  to  be  produced  by 
them    is    not    always    intelligible.     Many    designers  adopt   this 
method   for  the   purpose  of   economizing  time,  and  in  practical 


DESIGN  TEXTS. 


45 


Fitr.  86. 


work  in  the  mill  this  method  is  to  be  recommended,  not  simply 
for  concealment,  but  it  is  all  that  is  necessary  for  the  use  of  the 
pattern  weaver,  chain  builder,  or  loom  fixer,  to  enable  him  to  put 
the  work  into  operation. 

In  order  to  obtain  the  full  design  from  the  reduced  working- 
plan  and  dra\ving--in  draft,  which  is  but  the  reverse  method  of 
that  adopted  in  the  previous  examples,  follow  the  draft  and  chain 
in  the  same  manner  as  done  with  the  desig-n  when  making-  a 
reduction.  Likewise  number  the  threads  on 
the  harnesses  consecutively  at  the  top  of  the 
drawing-in  draft,  so  that  the  place  for  each 
particular  thread  in  the  extended  design  will 
be  indicated.  A  simple  illustration  will  explain 
this. 

In    this    figure   six    harnesses    are    required, 
on  which  are  drawn  twelve  threads  to  complete 
the   pattern.     See   Fig.  86.     The  working-  plan 
accordingly     contains     six      threads.       In 
another    method    sometimes    adopted    the 
working  chain  of   the    desig-n    is   given,  as 
in     Fig.     86,     but    the    draft    is    given     in 
figures,    and     not    on    parallel    lines.      As, 
for  instance,   in  the  draft  for  Fig.  87  the 
numbers   read   1,  2,   3,  4,  5,  6,   3,  2.  1,  6,  5, 
4.     All    that    is    required    is    to    draw   as 
many   horizontal   lines  as   are    represented 

by  the  highest  number,  which  in  this 
case  is  6,  number  the  lines  consecu- 
tively, and  proceed  to  draw  the 
vertical  lines  upon  them,  according1 
to  the  numbering  of  the  threads, 
which  would  give  the  draft  as  at 
Fig.  87. 

F«"  M  Full  and  extended  design  at  Fig.  88. 

Examples:  —  Reduce    Figs.    89,    90,    and    91    to    the    fewest 
possible  number  of  harnesses. 


Figr.  87. 


I'M** 

5 

^hhbH"  '* 

rrrr 

SSQ  2 l/K  5U- 

Fig.  89. 


Fig.  90. 


Fig-.  91. 


46  DESIGN  TEXTS. 


BROKEN    DRAFTS. 

Broken  drafts  are  made  from  regular  drafts  by  taking- 
threads  from  the  regular  draft  in  some  irregular  order  and  so 
arranging  them  as  to  form  a  new  draft  which  will  give  a 
weave  of  broken  appearance  when  used  with  the  regular  chain. 
Different  systems  may  be  adopted  in  making  these  broken 
drafts,  and  they  are  often  made  from  regular  twill  or  sateen 
drafts. 

Such  a  draft  may  be  made  from  a  twill  draft  by  taking 
from  the  twill  a  number  of  threads  and  then  omitting  a  num- 
ber, in  this  way  carrying  out  the  draft  to  a  repeat.  These 
drafts  are  used  to  produce  what  are  known  as  broken  or  skip 
twill  weaves. 

Another  system  of  making  broken  drafts  is  by  taking  con- 
secutive groups  of  threads  from  a  sateen  draft  and  rearrang- 
ing them  in  alternate  order,  one  group  is  drawn  in  the  regu- 
lar draft,  the  other  group  with  the  order  of  drawing  reversed. 
Any  number  of  threads  desired  may  be  used  in  a  group,  such 
as  alternate  2's,  alternate  3's,  or  2's  and  3's,  etc.  The  length 
of  the  repeat  is  ascertained  by  obtaining  the  least  common 
multiple  of  the  number  of  harnesses  and  the  number  of  threads 
contained  in  the  sum  of  the  two  groups. 

A  third  method  of  constructing  a  broken  draft  is  by  tak- 
ing any  number  of  harnesses  which  it  is  desired  to  use  and 
selecting  some  uneven  number,  preferably  greater. 

DRAFTING    AND    REDUCTION. 

1.  Why  is  drafting  necessary? 

2.  Define  the  word   "drafting." 

3.  How   does  drafting   affect  the  weaving   of  a  design  re- 
garding the  number  of  harnesses? 

4.  Describe    the  effect   of  drafting    when  weaving   stripes 
with  a  large  or  small  number  of  picks  and   threads. 

5.  Does  drafting  reduce  the  number  of  picks  in  a  design? 

6.  What  is  the  working  plan  or  chain? 

7.  Describe  the  method  of  finding  the  chain  for  a  design? 

8.  When   drafting,  what  do   the  numbers   below  a  design 
denote? 

9.  Illustrate  drafting  by  using  eight  threads  of  the   shal- 
loon twill  giving  chain  and   draft  for   the  complete  design. 


DESIGN  TEXTS.  47 


10.  What  do  the  horizontal  and  vertical  lines  in  a  draft 
represent? 

11.  Make  the  following  design: 
8  threads.  8  picks  swansdowa  twill. 
4  threads,  8  picks  crow  weave. 

12  threads,  8  picks  swansdown  twill, 
8  threads,  8  picks  crow  weave, 
8  threads,  8  picks  swansdown  twill. 
The    design     repeats    on    40    threads    and    8     picks,  a    cut 
being-  formed  by  the  several  weaves. 

12.  Make  chain  and  draft  for  the  design  in  question  11, 
explaining  process  in  detail. 

13.  Describe  the  process  of  making  a  design  from  a  chain 
and  draft. 

14.  The  chain  for  a  design   is  as  follows: 
4  threads,  4  picks  swansdown    twill, 

4  threads,   4  picks  cassimere  twill, 
4  threads,  4  picks  crow  weave. 
The   draft   reads:    1.    2,   3,    4,    1,    2,   3,    4,  5,  6,  7,  8,  5,  6,  7, 
8,  9,   10,   11,   12,  9,   10,    11,   12. 

Make  a  full   design  describing  the   method   fully. 

15.  What  is  the  advantage,  to  designers,  in  using  chains 
and   drafts  in   place  of  full  designs? 

COLOR    EFFECTS. 
Influence   of  Color   on  Weaves,   or  the    Application    of  Color  to    Fabrics. 

Many  of  the  great  variety  of  patterns  produced  in  all  lines 
of  fabrics  are  made  on  the  same  weave,  the  change  in  effect 
being  obtained  in  the  arrangement  of  colors  in  the  warp  and 
tilling.  To  understand  how  this  change  is  made,  it  is  only 
necessary  to  bear  in  mind  that  where  warp  is  raised  that  color 
will  appear  on  the  face  of  the  fabric,  and  where  not,  the  filling 
color  will  appear.  These  changes  are  called  color  effects,  the 
simplest  form  in  which  it  can  be  designed  is  the  common 
hair  line,  where  the  pattern  shows  one  thread  of  a  light  color 
and  one  of  a  dark  color,  running  lengthwise  of  the  fabric.  It 
is  made  on  the  plain  weave.  By  a  careful  study  of  the  lessons 
and  exercises  the  method  will  be  learned  quickly,  so  that  any 
number  of  effects  can  be  produced. 

These  color  effects  are  made  so  that  an  idea  can  be  ob- 
tained of  how  any  arrangement  of  colors,  on  a  certain  weave, 
would  appear  in  the  fabric  after  weaving.  In  making  these  de- 
signs, the  first  thing  is  to  decide  the  weave  to  be  used;  for  ex- 


48 


DESIGN  TEXTS. 


ample,  the  plain  or  cotton  weave,  Fig-.  92.  Next  indicate  the 
weave  on  the  design  paper  by  a  small  dot  or  faint  mark,  Fig". 
93,  which  will  serve  as  a  guide  to  show  which  thread  must  be 
raised.  Then  indicate  at  the  top  and  right-hand  side  of  the 
design  the  arrangement  of  colors,  Fig.  93,  which  we  will  as- 
sume to  be  one  thread  black  and  one  thread  white  in  the  warp, 
and  one  pick  white  and  one  pick  black  in  the  filling.  After 
having  indicated  the  weave  and  the  arrangement  of  colors,  the 
next  operation  is  to  mark  where  the  warp  is  raised  as  indicated 
by  a  small  dot,  the  mark  to  be  of  such  a  color  as  indicated  by 
the  color  on  the  top  of  the  design,  Fig.  94.  When  this  has  been 
done,  mark  every  filling  pick  as  indicated  on  the  squares  by 
being  left  blank,  which  indicates  the  warp  down,  with  such  color 
as  represented  on  right  side  of  design,  Fig,  95.  This  pattern 
in  color  is  called  "The  Hair-line."  The  simplest  change  from 
this  hair-line  pattern  is  to  produce  the  bar  effect  in  the  width 
of  the  piece.  This  effect  is  made  on  the  same  weave  and  ar- 
rangement of  color  in  the  warp,  the  only  change  being-  in  the 
filling,  which  is  one  of  black  and  one  of  white.  The  chief 
characteristic  of  such  hair-lines  and  stripes  is  that  each  color 
must  cover  its  own,  that  is,  if  black  warp  is  down  a  black  fill- 
ing should  cover  it.  These  color  effects  are  the  most  impor- 
tant in  designs  for  ladies'  and  children's  dress  goods,  in  cotton, 
woolen,  and  silk  fabrics.  Constant  practice  in 
making  them  will  be  of  great  assistance  to  the 
student,  and  an  excellent  experience  will  be  ob- 
tained in  regard  to  the  various  effects,  as  by  the 
use  of  several  colors  the  same  effect  will  be  ob- 
tained as  in  the  cloth.  _,     Q, 

Plain  Cloth,  No.  1  A. 

Explanation  to  Fig.  93. — The  design  is  8  threads  by  8 
picks,  plain  weave,  or  8  threads  and  8  picks  of  No.  1  A.  The 
small  dots  indicate  which  threads  must  be 
on  the  surface,  the  marks  on  the  top  in- 
dicate the  color  of  such  threads  in  the  warp 
which  must  appear  on  the  surface  of  the 
fabric.  In  this  example  the  warp  is  dressed 
1  black  and  1  white  all  the  way  across. 
The  marks  on  the  right  side  of  Fig.  93  in- 
dicate the  color  of  the  weft  or  filling  which 
must   appear  on    the  surface  of  the   fabric. 


D 


1 


12  345678 
Fig.  93. 


DESIGN  TEXTS. 


49 


Explanation— Fig-.  94  is  like  Fig-.  93,  with  the  warp  threads 
lifted,  showing-  the  colors  which"  are  on  the  surface.  In  Fig.  93 
the  first  thread  and  pick  A  is  represented  by  Q]  which 
indicates  such  thread  to  be  lifted,  and  in  Fig.  94  the 
same  square  is  filled  in  black,  which  is 
the  color  on  the  surface  of  the  fabric,  the 
2d  thread  and  1st  pick  is  represented  by  g 
|  |,  which  indicates  such  thread  to  be  down,  J 
and  would  be  covered  by  the  weft,  the  sur-  £ 
face  of  the  cloth  at  this  point  being  the  A 
color  of  the  weft.  The  2d  pick  B,  1st  thread  iinttTi 
is  represented    as   down  [3  this  would    be  *«■ y4- 

covered  by  the  filling-,  the  2d  thread,  pick  B,  is  represented  by 
P~|,  which  indicates  the  thread  to  be  on  the  surface.  Refer  to 
the  color  mark  over  the  second  thread  in  Fig-s.  93  and  94;  in 
this  case  it  is  white,  therefore,  white  will  be  on  the  surface  of 
the  cloth. 

Explanation  to  Fig.  95— This  is  like  Fig.  94 
interwoven  with  the  filling  as  shown  at  the  right 
hand  side.  Detail:  1st  pick  A,  white,  under 
black  and  over  white  alternately. 

2d  pick  B,  black,  over  black  and  under  white 
alternately. 

3d  pick    like  the    first.    4th    pick  like    the  2d, 
and  soon,  thus  forming-  the  "Hair-line  pattern," 
one  dark  line  and  one  lig-ht  line  down  the  cloth. 
In  the  hair-line  design   black  covers  black,  white  covers  white. 

Explanation    to    Fig.  96.— The  particulars        

for    the    warp  and  weave  are   identical   with   Nos.  JrJJJ 
93,  94,  and  95,  but  take  particular  notice  how  the 
weft  or  filling-  is  interwoven  : 

The   pick  A  is   black   in   the  place  of  white. 
The   pick    B  is  white  in  the   place  of  black,  oi 
black  covers  white  and  white  covers  black,  thus 
making  the  dark  line  across  the  fabric  as  shown 
in  Fig-.  96. 

Explanation  to  Fig.  97.  —  This  shows 
the  effect  of  a  plain  weave,  warp  solid  black, 
filling  solid  white. 

Fig.  98  is  an  example  of  the  plain  weave 
on  8  threads  and  8  picks,  arrang-ed  in  the  follow- 
ing manner: 


*■*■*■*    I 
*  I  *  ■*  ■• '  B 1 

•M*l*l*    fll 


Fig.  95. 


Fig.  96. 


Fig.  9i 


50 


DESIGN  TEXTS. 


1st  section 
4  threads 


2d  section 
4  threads 


4  threads  and  4  picks,  No.  1  A,  )     Commencing 

>  with 

4         ,,         ,,4      ,,        No.  1A.J    the  2d  thread. 

4  threads  and  4  picks.  No.  1  A.  j     Commencing 

r  with 

4         ,,         ,,4      ,,       No  1  A.  )    the  2d  thread 


Explanation. — No.  1  A  is  the 
plain  weave  on  2  threads.  1  up, 
1  down.  Fig.  98  calls  for  a 
design  of  8  threads  by  8  picks, 
4  threads  and  4  picks.  No.  1 
A.  which  will  read  on  the  de- 
sign paper:  1st  section  of  4 
threads — 


c_*_iM_ft_ 

C •_! •_• 

A|      •  •      ■ 


I    2   3  4  5  6  7  6 
Fig.  9a. 


1st  pick  A,  4  threads,  1st  up,  2d  down,  3d  up,  4th  down. 
2d  ,,  B,  4  ,,  1st  down,  2d  up,  3d  down,  4tb  up. 
3d  ,,  C,  4  ,,  1st  up,  2d  down,  3d  up,  4th  down. 
4th     ,,      D,  4         ,,         1st  down,  2d  up,  3d  down,  4th  up. 

This  is  the  first  part  of  1st  section,  4  threads  and  4  picks. 
See  the  first  4  threads  and  picks  1  to  4  and  A  to  D,  Fig.  98. 

Second  part  of  1st  section  reads,  4  threads  and  4  picks,  No.  1 
A,  commencing  with  the  second  thread,  which  will  read  on  the 
design  paper: 

\  5th  pick  E,  4  threads,  1st  down,  2d  up,  3d  down,  4th  up. 


1st  section 


of 
4  threads    ! 


bth 

7th 


F,  4        ,,         1st  up,  2d  down,  3d  up,  4th  down. 

G,  4        ,,        1st  down,  2d  up,  3d  down,  4th  up. 
!  8th     ,,    H,4        ,,         1st  up,  2d  down,  3d  up,  4th  down. 

See  Fig.  98.     Threads  1  to  4,  and  picks  E,  F,  G,  H. 

This  completes  the  1st  section,  4  threads  and  8  picks. 

Now  take  the  2d  section  of  4  threads,  Nos.  5,  6,  7,  8,  in  Fig. 
98. 

First  part  of  2d  section  reads,  4  threads  and  4  picks,  No.  1  A, 
commencing  with  the  2d  thread,  which  will  read  on  the  design 
paper: 

Pick  A,  5th  thread  down,  6th  thread  up,  7th  thread  down,  8th  thread  up. 
,,  B,  5th  ,,  up,  6th  thread  down,  7th  thread  up,  8th  thread  down. 
,,  C,  5th  ,,  down,  6th  thread  up,  7th  thread  down,  8th  thread  up. 
,,     D,  5th       ,,         up,  6th  thread  down,  7th  thread  up,  8th  thread  down. 


DESIGN  TEXTS. 


51 


Second  part  of  section  2  reads,  4  threads  and  4  picks,  No.  1  A, 
which  will  read  on  the  design  paper: 

Pick  K,  5th  thread  up,  6th  thread  down,  7th  thread  up,  8th  thread  down. 

F,  5th      ,,        down,  6th  thread  up,  7th  thread  down,  8th  thread  up. 

G,  5th      ,,        up,  bth  thread  down,  7th  thread  up,  8th  thread  down. 

H,  5th        ,,         down,  6th  thread  up,  7th  thread  down,  8th  thread  up. 

Fig-.  99  is  the  same  weaving  plan  as  given  in  Fig.  98. 

The  warp  is  dressed  1  black  and  1  white. 
The  filling  is  interwoven  1  white  and  1  black. 


[_!  "L 

•■ 

| 

■!■!■*  " 

□  □■    ■ 

■□■□  ■  ■■■■■ 

□  □       ■    ■ 

■    ■■CHUHU 

□  a         ■     ■ 

■  ■  I  1*1  i*J 

Pig.  99. 


123.4  567S 
Fig.  lixi. 


Fig.  100.  The  design  is  on  8  threads  and  8  picks,  composed 
of  4  threads  and  8  picks,  No.  I  A,  4  threads  and  8  picks,  No.  1  A, 
commencing  with  the  2d  thread. 

The  warp  is  dressed  1  black,  1  white,  1  black,  2  white,  1 
black,  1  white,  1  black=8  threads. 

The  filling  is  interwoven  1  white,  1  black,  1  white,  2  black,  1 
white,  1  black,  1  white, =8  picks. 

Fiar,  101.  This  design  is  shown 
on  12  threads  by  12  picks  of  No.  1 
A. 

The  warp  is  dressed  1  black,  2 
white,  2  black,  2  white,  2  black,  2 
white,  1  black=12  threads. 

The    filling    is    interwoven    1    white, 
2  black.  2  white,  2  black.  2  white,  2   black, 
1  white=12  picks. 
Example  No.  1.     On  plain  weave,  16  threads  x  16  picks. 

1  Red      |  „  _,  1  Black   I  . 

L  Black   [16  Threads.  ,  Red      \  16  Picks. 

Example  No.  2.     On  plain  weave.  16  threads  x  16  picks. 
1  Red      1 .  1  Red      ) 


1  Black    \ 


r  16  Threads. 


1  Black 


16  Picks 


52 


DESIGN  TEXTS. 


Example  No.  3.     On  plain  weave,  20  threads  x  20  picks. 
1  White"]  1  Black  1 


1  Black 


1  White  ! 


2  White  \  2°  Threads.  J  ££ck    \  20  Picks. 

1  Black  J  2  White  J 

Example  No.  4.     On  plain  weave,  12  threads  x  12  picks. 

2  White  (,„„,,         ,  2White|1„TV  , 

1  Black    \  12  Threads.  x  Black   J  12  Picks. 

Example  No.  5.     On  plain  weave,  16  threads  x  16  picks. 

2  Black   |  2  Black   )  ,,  _.  . 
2Green  f  16  breads.  2Green  \ 16  P,cks' 

Explanation  to  Examplp;  No.  1.— On  plain  weave,  16  threads  x 

16   picks,  means   that   16   threads   or   squares   each   way   on  the 

design  paper  must  be  used,  then  over  the  threads  mark   1  red,  1 

black,  repeating-  these  for  16  threads,  then  mark  on  the  side  of 

the  design  the  filling,  1  black,  1  red,  for  16  picks,  and  proceed  as 

explained  in  Fig.  90. 

EXERCISES  FOR  PRACTICE. 

All  on  the  Plain  Weave. 


WARP. 

1  Red       ) 
1  Black    j 
1  Red 
1  Black    j 
1  White  ] 

1  Black 

2  White 

1  Black   j 

2  White  | 

1  Black    j 

2  Black    I 
2  Green  f 


16  Threads. 


16  Threads. 


}>  20  Threads. 


12  Threads. 


16  Threads. 


FILLING. 

1  Black 

2  Red 
1  Red 
1  Black 
1  Black 
1  White 

1  Black 

2  White 
2  White 

1  Black 

2  Black  \ 

2  Green  \ ~  1G  Plcks- 


16  Picks. 


16  Picks. 


20  Picks. 


■  12  Picks. 


EXERCISES  FOR  PRACTICE. 

Sketch  on  point  paper  the  effect  produced  by  the  following 
weaves  and  colorings: — 

WEAVE.  WARP.  FILLING. 


(1) 


• 

4 

• 

• 

• 

• 

ft 

1 

4 

Color—     1  )  _- 
Ground — 1  J 


as  warp 


(2)  same  as  (1) 


Color—     2 
Ground — 2 


as  warp 


DESIGN  TEXTS. 


53 


WEAVE. 

(3)  same  as  (1) 

(4)  same  as  (1) 

(5)  same  as  (1) 


(6) 


(') 


LL  EI      SB 
LBB.lEltt 

:A  !  I«LI*15»1_ 

hi  1 1*1  m  I 

•  • •  •_ 

_••_• • 

•  •    •  • 

• •_• •_ 

■_  •  • •  • 

•  •  •    * 


WARP. 

Color —     2  ) 
Ground — 2  f  =4 
Color—     4  (  _ 
Ground — 4  )~° 
Color—     2  2)- 
Ground— 1  3  \  ~~° 


Color—     4  ) 
Ground— 4  j' 


Color—     Hi 
Ground — 2  .  j" 


as  warp 
as  warp 

Color— 
Grou 


nd— 4  .   f  ~* 


as  warp 


as  warp 


(8)  same  as  (6) 


(9) 


•     •        II" 


Color—     1  1  J 
Ground — 2  .  J  =4 


Ground— 2  2  / 
Color —     4  .   j 


Color—     .   1  J 

Ground— 1  .   f      " 


Ground— 3     1  / 
Color—     4     .   \  ~8 


• 

* 

• 

• 

• 

■» 

1 

•  |» 

• 

;• 

• 

m 

• 

* 

• 

;• 

• 

• 

(10) 


(11)  same  as  (10) 

(12)  same  as  (10) 

(13)  same  as  (10) 

(14)  same  as  (10) 

(15)  same  as  (10) 

(16)  same  as  (10) 

(17)  same  as  (10) 

(18)  same  as  (10) 


(19) 


Ground —        1 

No.  1  Color— 1  J.  =4 

No.  2  Color— 2 

Ground— 1  1  ) 
Color—     2  .  \  ~ 
Ground — 3  ) 
Color—     3  S 
Ground— 3  )      , 
Color—     3  f  =6 
Ground — 
Color 

Ground 
Color—     ' 

Ground— 1  13  2 
Color—     113. 
Ground — .   1  3 
Color—     1  1 

Ground— 2  1  ) 
Color—     1  2  J"  =6 

No.  1  Color—     1     3 
No.  2  Ground— 1     1 


ind— .   1  I 

2  •  J      " 


=12 


as  warp 


as  warp 

Color—     3  ) 
Ground— 3  j  ~6 
Ground — 1  ) 
Color—     1  f  =2 

Ground — 1  } 

Color—     1  j"  ~~ 

Ground — .  3  ) 
Color—     2  1  j"  =6 
Ground— 1  3  3/ 
Color—     l  3  1  f  =12 
Ground — .   1  ) 
Color—     2  .   \  =3 

as  warp 


[  =16      No.  2  Ground— All 


4  times     twice 


54 


DESIGN  TEXTS. 


WEAVE. 

(20)  same  as  (19) 

(21)  same  as  (19) 

(22)  same  as  (19) 


(23 


WARP.  FILLING. 

No.  1  Color—     1112  2/ 

No.  2      ,,  1112  2  [=24  No.  3  Ground— All 

No.  3  Ground— 2  2  2  2  2) 

No.  1  Color-     1112  2)  N      ,  Cl 

No.  2      ,,  1112  2  -=24iN 

No.  3  Ground- 2  2  2  22) 

No    1  Color—     2  2  /      „  No.  1  Color—      .  4  / 

No.  2  Ground— 1  3  )      8  No.  2  Ground— 1  3  [ 


1  1  I 
No.  3  Ground— 2  .  f 


No.  1  Color—     12.   .  2  ) 

No.  2      ,,  1.11. 

No.  3  Ground— 1  12  2  1) 

4  times 


JA  No   1  Color—     1  |  _, 
="4  No.  3  Ground— 2  )      J 


(24)  same  as  (23) 

(25)  same  as  (23) 

(26)  plain 

(27)  same  as  (26) 

<28)  same  as  (26) 
(29)  same  as  (26) 


No.  1  Color—     1     3      | 
No.  2  Ground— 1     3 


=36 


No.  1  Color—     2  / 


6  times  4  times 
No.  1  Color—     .   1  1  3  |  _,- 
No.  2  Ground- 1  13  2)"      l~ 
Ground—     11     111) 
No.  1  Color  3  .      11.) 


No.  2  Ground— 1  ) 

No.  1  Color—    .131  / 
No.  2Ground-13  3.  \ 


=3 


=12 


=40 


4  times    4  times 
Ground —  1       1  1  I 


No.  1  Color—     1       1  .   | 

4  times  4  times 

=5 


=20 


Ground—  111/ 

No.  1  Color—  11.) 
Ground—         11     111/ 


No.  1  Color— 2 


=24 


3  times  twice 
Sketch  on  point  paper  the  effects  produced   by  weaves  30  and 

31  warped  and  picked  1  color 

1  ground 

~2 


•II?ZtZEIIIIsII-ftI 
•Z*-ZZ*Z»Z**Zf-Z»ZZZ 

• •._•._•_£•_•_•_• 

• •._•_•._• •"•_•_ 

•     •••        •••• 

-¥-•-•-•-•¥¥••" 

•Z»Z«Z»Z»ZZ*Z»Z£ZZ 

•  —  • "~  •_¥ •_•_•_•• 

•••_« •_•_•_••_ 

_•_•_• •_•_•_•_    • 

•  _•_• .•_•_•_•_•?_ 

_•_• •_•_•_•_•_•• 

•n«l*J5_±_*Z5_»-*-S 


•    ••••••    •    •    •••     •    • 

•     »•"'■'••     •     •     •  •     •  •     •     • 

•       f       0       9       •        •       ••       •        ••        •• 

•        •••••••••••• 

•        •••••••••••A 

•       •••••••••••• 

•       •••••••••••• 

•       •       •       ••        •       ••       •        •        •        •        • 

•       •••••••••••• 

30 


31 


DESIGN  TEXTS.  55 


COLOR  EFFECTS. 

1.  Define  the  term  "color  effect." 

2.  Describe  the  "common  hair  line"  giving  the  weave 
required,  the  scheme  of  warp,  and  system  of  filling-. 

3.  Make  a  design  for  a  common  hair  line  (8  x  8),  red  and 
black  to  be  complete  in  detail. 

4.  How  are  the  risers  in  a  design  for  a  color  effect  filled 
in,  or  colored? 

5.  What  governs  the  coloring  of  the  risers  in  a  color  effect? 

6.  How  are  the  sinkers,  or  blank  spaces  in  a  color  effect 
colored,  and  upon  what  does  the  difference  in  color  of  the  sep- 
arate squares  depend? 

7.  How  may  the  line  effect  be  changed  to  a  bar  without 
altering  the  weave? 

8.  What  is  the  chief  characteristic  of  hair  line  stripes? 

9.  In  what  classes  of  fabrics  are  color  effects  used? 

10.  Given,  the  plain  weave  (8x8).  Scheme  of  warp  and 
filling  is  one  red,  one  black.     Make  a  color  effect  for  this  design. 

11.  Given,  the  plain  weave  (8  x  8).  Scheme  of  warp  one 
red,  one  black,  filling,  one  black,  one  red.  Make  a  color  effect 
for  this  design. 

12.  Describe  fully  the  difference  existing  between  the  color 
effects  produced  in   questions  10  and   11. 

13.  What  benefit  is  derived  from  making  color  effects  on 
design  paper? 

PLAIN  AND  IRREGULAR  RIB  WEAVES. 

After  the  plain  and  twill  weaves  have  been  studied,  the  next 
class  of  weaves  is  the  derivative  weaves,  or  those  which  are 
designed  by  using  one  of  the    foregoing  weaves  as  a  basis. 

The  simplest  class  of  these  is  the  rib.  This  is  formed 
from  the  plain  or  cotton  weave  as  a  foundation. 

Fig.  No.  102  is  an  enlarged  diagram  of  a  fabric  woven  on 
the  simplest  rib  weave  which  can  be  constructed.  It  is  made 
by  raising  one  warp  thread  for  two  consecutive  picks,  and  lower- 
ing the  same  warp  thread  under  the  next  two  picks,  the  second 
thread  being  exactly  the  reverse  of  the  first. 


56 


DESIGN  TEXTS. 


m 


wmm^ 


6JW/////M 


,  111  L 


ll 


WMk 


\1 

Fig.  102 


8 


WWM 


By  a  careful  study  of 
Fig.  102  and  Fig.  103  a  clear 
idea  of  the  designing  of  these 
weaves  will  be  obtained. 
The  warp  thread  No.  1 
is  raised  when  the  pick  A  is 


Fig.  103. 

inserted  and  the  same  position  of  warp 
threads  is  obtained  in  the  case  of  the 
second  pick  B. 

When  C  and  D  are  woven  the  warp  thread  No.  1  passes 
under  them,  the  warp  thread  No.  2  passes  under  A  and  B  and 
over  C  and  D,  which  is  the  reverse  of  the  intersections  on  thread 
Number  1. 

It  will  be  seen  that  this  weave  is  nothing  more  than  the 
plain  weave  with  an  additional  pick  in  the  direction  of  the  fill- 
ing. This  causes  the  warp  to  cover  the  filling,  and  this  effect 
is  called  a  rib,  made  by  the  warp.  These  weaves  are  called 
warp-rib  weaves,  because  the  rib  line  runs  across  the  piece  or 
width  of  the  fabric.  The  threads  three  and  four  are  the  dupli- 
cates of  one  and  two.  This  weave  repeats  on  two  harnesses 
and  four  picks.  Diagram  102  is  the  design  for  the  enlarged 
section  of  the  fabric. 

Warp-rib  weaves  do  not  have  the  ex- 
tended use  of  the  filling-rib  weaves. 
These  are  also  an  enlargement  of  the 
basis  plain  weave,  but  instead  of  being  in 
the  direction  of  the  filling,  the  rib  is  in  the 
direction  of  the  warp.  Fig.  104  and  Fig. 
105  illustrate  the  simplest  filling-rib 
weaves  which  can  be  constructed.  Fig. 
104  is  the  enlarged  section  of   the  fabric, 

and  Fig.  105  is  the  design  for  Fig.  104. 

The  pick  A  is  over  the  two  threads  1  and  2  and 
under  the  two  threads  3  and  4;  the  second  pick  B  is 
the  reverse  of  A,  and  the  third  and  fourth  picks  C 
and  D  are  the  duplicates  of  A  and  B.  The  weave 
repeats  on  four  warp  threads  and  two  picks.  In  the 
fabrics  woven  on  this  principle  the  face  rib  is  formed  by  the 
filling,  covering  the  warp  almost  entirely.  On  account  of  this 
characteristic  these  weaves  are  used  largely  in  the  manufacture 
of  woolen  and  cotton  union  fabrics,  that  is  a  cotton  warp  with 


Fig.  104. 


£3 


Fig.  105. 


DESIGN  TEXTS. 


57 


Fip.  106. 


woolen  filling-;   but  on  account  of   the  slippery  character  of  the 
cotton  warp  and  the  filling-  crossing  each  bunch  or  set  of  threads 
in  the  same  manner,  it  is  found  that  in  the 
fabric   the   filling  will  slip  or  pull  on  the 
warp  and  form  open  spaces.     This  defect 
can  be  somewhat  remedied  by  using  such 
a  weave  as  is  shown  in  Fig.  106.     In  this 
weave  it  will  be  noticed  a  warp  thread  is 
lowered  on  every  rib  or  cord.     This  addi- 
tional intersection  holds  the  filling  and  keeps  it  from  slipping  on 
the  warp. 

The  fancy  and  irregular  rib  weaves  are  made  from  the  plain 
rib  weaves.  These  consist  of  the 
combination  of  two  or  more  rib 
weaves  of  various  widths  in  one 
design.  Fig.  107  shows  the  design 
for  a  weave  of  this  class,  which  re- 
peats on  three  threads  and  two 
picks.  Fig.  108  is  the  same  idea 
designed  for  warp  rib. 

The  student  is  advised  to  make  the  following  weaves  and 
enter  them  in  a  book: 

Warp-Rib.  Make  out  designs  for  warp-rib  weaves  to  repeat 
on  two  harnesses  and  six  picks,  for  two  harnesses  and  eight 
picks,  also  for  two  harnesses  and  ten  picks. 

Filling-Rib.  Make  designs  for  filling-rib  weaves  to  repeat 
on  six  threads  and  two  picks;  also  eight  threads  and  two  picks; 
also  ten  threads  and  two  picks. 

Irregular  and  Fancy  Rib.  Make  out  designs  for  irregular 
rib  weaves  of  this  character,  consisting  of  the  combining  of 
those  weaves  where  the  filling  crosses  two  threads  and  three 
threads,  three  threads  and  one  thread,  four  threads  and  two 
threads,  and  four  threads  and  one  thread. 

Also  make  out  designs  where  the  warp  thread  crosses  the 
same  number  of  picks  as  the  warp  threads  in  the  above  examples. 

Also  a  diagram  of  each  weave  and  a  cut  section  of  the  first 
and  second  picks  of  each  design. 


Fiff.  107 


Fig.  108. 


PLAIN  AND  IRREGULAR  RIB  WEAVES. 


1. 

9 


What  are  derivative  weaves? 

From  what  class  of  weaves  are  ribs  derived? 


5s 


DESIGN  TEXTS. 


3.  Make   a    design  of    the    simplest    rib  weave    explaining 
the  interlacing  of  the  first  two  threads. 

4.  Compare  this  weave  with  the  plain  weave.     Explain  the 
differences  existing  between  the  two  weaves. 

5.  What  is  a  warp  rib,? 

6.  In  which    direction    does  the    rib    line   run  in  a    fabric 
woven  from  a  warp  rib  weave? 

7.  Make  a  diagram  for  the   design  in  question  3. 

8.  What  are  filling  rib  weaves? 

9.  Which  are  used   more  extensively,  warp  or  filling  ribs? 

10.  What  is  the  effect  produced  in  a  fabric  woven  from  a 
filling  rib  weave? 

11.  Make  a  design  for  the  simplest  filling  rib  weave. 

12.  Make  a  diagram  for  the  design  in  question  11  and 
compare  with  the  diagram  in  question  7.  Explain  the  differ- 
ences existing  between  the  two  diagrams  in  regard  to  inter- 
lacing of  warp  and  interweaving  of  filling. 

13.  What  class  of  goods  are  woven  from  filling  rib  weaves? 

14.  What  defect  is  often  found  when  these  weaves  are  used 
for  a  fabric  woven  from  a  cotton  warp  and  woolen  filling? 

15.  How  may  this  defect  be  overcome? 

16.  What  are  fancy  and  irregular  rib  weaves?  Illustrate 
with  a  design. 

FIGURED  RIB  WEAVES. 

The  figured  weaves  of  this  class  are  produced  by  combining 
the  effects  of  the  warp  and  filling  rib  weaves.  In  the  filling  effect 
weaves  the  rib  lines  run  in  the  direction  of  the  warp,  and  in  the 
warp   effects   in  the   direction   of   the   filling.     The  first  step  in 

making  figured  rib  weaves  is  to  break 
the  rib  line  or  to  change  it  after  a 
certain  number  of  warp  ends.  The 
method  of  designing  these  weaves  is 
shown  in  Fig.  10'»,  where  ihe  rib  line  on 
the  first  six  warp  ends  is  the  same,  then 
by  raising  the  intersection  one  pick  the 
rib  line  is  broken  from  a  straight  line 
across  the  fabric.  This  break  also 
covers    six    ends,    so    that     the    weave 


Fig.  109. 


DESIGN  TEXTS. 


59 


repeats  on  four  picks  and  twelve  warp  ends. 
This  weave  can  be  varied  considerably  by 
using-  a  different  number  of  warp  ends  in  the 
change  of  the  rib  line,  such  as  using  twelve 
ends  for  the  first  direction  of  rib  line,  and 
then  a  smaller  number  for  the  second  direc- 
tion. 

Fig.  110  is  the  combination  of  the  four  up] 
and  two  down  rib  weave,  using  six  ends  for 
each  change  of  the  rib  line;  this  makes  a 
broad  and  a  narrow  rib  line,  and  is  a  very 
good  fancy  effect.  It  repeats  on  twelve  ends  and  six  picks.  By 
using  various  rib  weaves  and  changing  the  arrang-ement  of  the 
number  of  threads  used  for  the  several  widths,  a  great  variety 
can  be  produced. 


Fit.  110. 


FILLING  EFFECT  FANCY  RIB  WEAVES. 


These  weaves  are  designed  on  the  same 

principle   as    the   warp    effect    rib    weaves, 

except  that  the  rib  line  runs  in  the  direction 

of  the  warp  instead  of  the  filling.     Fig.  Ill 

shows    the    narrow    and    wide    rib    weaves 

combined — the  rib  line  running  for  six  picks 

then  changing  on  the  next  six.      This  will   fW/: 

produce  a  wide  and  narrow  rib  effect  alter-    PQ 

nating. 

The  filling  effects,  as  in  the  warp  effects, 

can  be  varied  by  using  various  widths  of  rib  Fig.  in. 

weaves  and  different  numbers  of  picks  for 
the  various  widths. 

The  next  class  of  figured  rib  weaves  is 
to  combine  the  warp  and  filling  effects  in 
one  weave.  This  is  usually  done  in  the 
shape  of  block  effects,  using  the  warp  or 
filling  effect  for  the  ground  and  the  opposite 
of  what  is  used  for  the  ground  work  of  the 
pattern  for  the  figure.  Fig.  112  is  the  com- 
bination of  the  two  up  and  two  down,  using- 
Fig.iiZ.  the  filling  effect  for  six  ends  and  six  picks, 


GO  DESIGN  TEXTS. 


and   the   warp    effect  for  six   ends  and   six 


ff 


FF 


w. 


fw. 


F 


u 


F 


F 


FF 


F 


m 


F 


picks;     this    repeats    on    twelve    ends    and   O. 
twelve  picks.  Q 

In  Fig-.  113  is  an  idea  for  a  weave  of  this  " 
character,  each  square  representing-  eight  Q 
ends  and  eight  picks.  Where  W  is  marked  Q 
use  warp  face,  and  in  those  marked  F  filling  p    p    p    Q 

face  rib  weave.     Make  out  this  weave,  which  °*  Q    °    CJ" 

will  require  thirty-two  ends  and  thirty-two  Fie-  n3- 

picks;  also  make  two  other  designs  of  this  same  class.  Make 
designs  for  three  of  the  figured  warp  effect  rib  and  three  of  the 
figured  filling  effect,  marking  number  of  ends  used  for  each 
weave. 

FIGURED  RIB  WEAVES. 

1.  What  weaves  are   used  as   foundations  for   figured  rib 
weaves? 

2.  In  what  direction  do  the  rib  lines  run  in  filling   effect 
rib  weaves? 

In  warp  effect  rib  weaves? 

3.  What  is  the  first  step  in   making   figured    rib  weaves? 
Explain  fully  how  this  is  accomplished. 

4.  How  may  figured  rib  weaves  be  varied  in  effect  when 
the  same  foundation  weaves  are  used? 

5.  How  is  a  fancy  effect   giving  a  broad  and    narrow  rib 
line  designed? 

6.  Name  two    methods  of    producing    figured  rib  weaves. 

FILLING  EFFECT  FANCY  RIB  WEAVES. 

7.  How  are  filling  effect  rib  weaves   designed? 

8.  Make  a  design  for  a  fancy  filling  rib  effect  combining 
narrow  and  broad  lines  alternately. 

9.  How    may  the    effects  of    filling  rib  weaves  be    varied? 

10.  How  are  block  effects  produced  from  rib  weaves? 

11.  Describe  fully  each  step  used  in  the  designing  of  block 
effects,  illustrating  same  on  design  paper. 

OBLIQUE  RIB  WEAVES. 

Oblique   rib   weaves  are  a   combination  of  warp  and  filling 
effect  rib  weaves,  and  are  principally  used  in  the  manufacture  of 


DESIGN  TEXTS. 


61 


/  ZS.4.  J  67  8. 


Fif.  114. 

number  each  triangle  in  rotation  1,  2,  3,  4,  5, 
6,  7,  8.  Mark  in  each  uneven  numbered 
square  the  warp  effect  rib  weave  (see  Fig". 
115)  and  in  each  even  numbered  square  the 
filling-  effect  rib  weave,  which  produces  the 
completed  oblique  rib  weave,  Fig-.  116. 

This  procedure  can  be  reversed,  that  is, 
the  filling  effect  rib  can  be  designed  in  the 
uneven    numbered    triangles    and    the    warp 


what  are  called  bird's  eye 
effects.  They  produce  a 
square  pattern  in  the  cloth, 
which  fact  will  be  readily  ob- 
served from  a  careful  study  of 
the  weaves. 

To  design  these  weaves, 
first  mark  off  on  the  squared 
paper  the  repeat  of  the  weave  ; 
that  is,  if  it  is  required  to  be 
woven  as  eight  harness,  mark 
a  square  containing  eight  ends 
and  eight  picks;  subdivide 
this  square  into  eight  parts, 
as    shown    in    Fig.    114,    and 


Fig.  116. 

effect  rib  in  first  triangle,  also  make 
6,  8,  10,  12,  14,  16  harness  weaves, 
using  filling  effect  rib  in  first  triangle. 
These  weaves  are  also  combined 
with  plain  rib  weaves  for  producing 
checks,  usually  using  the  oblique  rib 
weave  as  the  groundwork  of  the  check 
and  the  plain  rib  weave  as  the  over- 
plaid  or  check.  A  weave  of  this  class 
is  shown  in  Fig.  118,  where  the 
groundwork  of    check    is    the   eight- 


Fig.  115. 

effect  rib  in  the  even  numbered  triangles, 
which  will  produce  the  finished  weave,  Fig. 
117. 

All  weaves  of  this  class  are  designed 
either  commencing  rib  effects  alternating 
with  filling  or  the  reverse. 

Make  designs  for  6,  8,  10,  12,  14,  1(> 
harness  weaves  of  this  class,  using  warp 


♦** 


ft 


±*± 


\n^v>i 


Fig    117. 


62 


DESIGN  TEXTS. 


i 

4 

► 

♦ 

♦     4) 

► 

♦♦ 

4 

► 

♦ 

♦     <\ 

► 

♦  1 

► 

♦ 

♦ 

♦ 

♦ 

♦ 

♦ 

♦ 

♦ 

♦ 

♦ 

1 

►♦ 

4 

► 

♦ 

4>l4> 

♦ 

♦«M 

► 

< 

►  4 

i 

►  ♦ 

♦ 

4 

► 

♦♦ 

♦      < 

► 

4 

►  ♦ 

♦ 

♦ 

«M 

♦ 

♦  < 

►  0 

1 

14 

♦ 

♦  ♦ 

♦ 

♦  ♦ 

♦ 

♦ 

U 

l*k 

W 

{% 

SW 

i\VU 

harness  oblique  rib  weave,  designed 
by  commencing-  with  the  filling 
effect  rib  in  first  triangle  and  the 
four-harness  rib  filling  effect  for 
the  warp  over-checking,  and  warp 
effect  for  filling  over-checking. 

These  combination  weaves  are 
simple,  the  only  difficulty  being 
experienced  where  the  warp  and 
filling  effects  of  over-checking  join, 
and  at  this  point  care  should  be 
taken  that  the  weaves  come  to 
gether,  preserving  as  near  as 
Fig.  ii8.  possible  the  effect  of  both. 

Design  two  weaves  of  this  class,  combining  the  ten  and 
twelve-harness  oblique  weave  with  warp  and  filling  effect  rib 
weave. 

These  weaves  are  principally  used  in  the  manufacture  of 
piece-dyed  worsteds. 

OBLIQUE  RIB  WEAVES. 

1.  What    weaves    are    combined    to    produce    oblique    rib 
weaves? 

2.  What    are    oblique    rib  weaves    chiefly  used    for  in  the 
manufacture  of  textiles? 

3.  What  is  the  effect  produced  in  a  fabric  by  oblique  rib 
weaves? 

4.  Give  a  brief  description  of  the  method   used  for  design- 
ing oblique   rib   weaves. 

5.  How  may  the  effect  obtained   in  question  4  be  changed 
so  as  to  produce  the   reverse   rib  effect? 

6.  How  are  all  weaves  of  this  class  designed? 

7.  How  are  check  effects  produced  by  oblique   rib  weaves? 

8.  What    difficulty    is    experienced   when    dt  signing   check 
effects  from   this  class  of   weaves? 

9.  How  may  this  defect  be  overcome? 

BASKET  WEAVES. 

The  common  weaves  of  this  class  are  simply  an  enlargement 
of  the  plain  or  cotton  weaves,  in  that  the  intersections  are  one  end 


DESIGN  TEXTS. 


63 


up  and  one  end  down  and  one  pick  up  and  one  pick 
down.  To  enlarge  on  this  requires  that  the  number 
of  ends  and  picks  on  the  same  intersection  must  be 
made  greater.  The  plain  weave  consists  of  one  c\m\ 
and  one  pick  each  way,  and  to  enlarge  on  this 
arrangement  the  number  of  ends  and  picks  must  be- 
lt   is   obvious   that   the 

n„„n 


o 

- 

ti 

■ 

= 

# 

1 

-m> 

u 

Fig.  119. 

increased. 


next  change  would  be  two  ends  and 
two  picks  each  way.  This  pro- 
duces the  simplest  basket  weave 
which  can  be  constructed,  shown 
in  Fig-.  119,  of  which  Fig.  120  is  an 
enlarged  section  of  a  fabric  woven 
on  this  weave.  This  basket  is  the 
"two  and  two." 

Make  designs  for  example  1, 
3  and  3;  example  2,  4  and  4; 
example  3,  5  and  5. 


Fig.  120. 


FANCY  BASKET  WEAVES. 


Fig.  121. 


From  the  plain  or  common  basket  weaves  the  fancy  baskets 

are   constructed.     These   are   solely   the   combination  of   two  or 

more   weaves  of   the  common   basket,   or  a  basket  and  the  plain 

combined. 

Fig.  121  is  an  illustration  of  these  weaves, 
combining  the  plain  and  the  two  basket,  to  form  a 
weave  which  repeats  on  three  ends  and  three 
picks.  Fig.  120  shows  the  combination  of  a  more 
complicated  weave  of  this  class,  being  the  one, 
two  and  three  combined,  and  consisting  of  three- 
changes.  Itrepeatson  twelve  ends  and  twelve  picks. 
In  designing  these  weaves  commence  at  the  left-hand  corner 

and  run  the  weave  across  the  square  paper  to  the  upper  right- 
hand    square.     Two   repeats    of    the      -£- 

original   weaves  are   necessary  before 

a    complete    repeat  of    the    weave   is 

secured.     After   designing    these    on 

the  paper  fill  in  the  rest  of  the  weave, 

always    counting     the     changes,    the 

same  both  warp  and  filling  way. 

Combine    the    following   in   fancy 

basket    weaves:  —  Example     4,    2 — 4; 

example  5,  1 — 4 — 2;  example  6,  2 — 3 — 

1—2—1;  example  7,  1—1-    2—2—3;  example  8,  2—3—4. 


64 


DESIGN  TEXTS. 


1. 

2. 
weave. 

3. 


BASKET  WEAVES. 

From  what  weaves  are  common  basket  weaves  derived? 
Make   a    design   and    diagram    of    the   simplest   basket 

What  is  this  weave  called? 

FANCY  BASKET  WEAVES. 

4.  How  are  fancy   basket  weaves  constructed? 

5.  Combine   the    plain  weave   and    "two   and  two"    basket. 

6.  Give  the    method   of   designing-   fancy  basket  weaves. 

7.  How  do  fancy  basket  weaves  designed  from  an  even 
number  of  changes  differ  from  those  designed  from  an  odd 
number  of  changes?     Describe  fully. 

SATEEN  WEAVES. 

Satin.    Real   satin   is   a   silk    fabric    in    which    the    warp    is 
iS'A!Tl£:|£  *W     a-llowed  to  float  over  the  filling 
in   a   manner   covering   it    en- 
tirely and  presenting  a  smooth 
lustrous  face,  Fig.  123. 

Satinet   is    a    mixture,   or 
union  cloth,  in  which  the  face 
Fig.  123  shows  only  a  woolen  filling,  the 

cotton  warp  being  covered  by  the  filling.  It  is  a  cheap  imitation 
of  satin.  See  Fig.  124.  In  some  districts  this  is  known  as 
"Kentucky  Jean." 

These  weaves  produce  what  there  name  implies,  a  satin 
effect.  They  are  very  extensively  used  in  cotton,  linen  and  silk 
goods,  also  in  woolen  and  worsted  fabrics.  In  the  manufacture 
of  damask  and  linen  table  covers  they  form  nine-tenths  of  the 
product.  In  cotton  goods  they  are  used  for  making  stripes,  and 
in  woolen  goods  they  form  what  are  called  Venetians,  doeskins, 
beavers  and  kersey  weaves.  They  are  constructed  usually  from 
a  twill  weave,  and  this  principle  of  interweaving  is  sometimes 
employed  where  the  object  is  partly  ornamental,  as  in  satins 
used  largely  for  trimmings  and  for  ladies'  dress  goods.  In  such 
cases  the  first  object  is  to  produce  a  highly  lustrous  surface, 
perfectly  smooth  and  showing  no  pattern. 

If  one  class  is  taken  as  typical,  in  order  to  point  out  the 
peculiar  arrangement  and  its  effects  upon  the  fabric,  it  may 
serve  as  a  guide  when  dealing  with  patterns  for  ornamentation. 


DESIGN  TEXTS. 


65 


Fig.  125. 


These  weaves  are  of  two  distinct  classes,  those  in  which  the 
warp  predominates  on  the  face  being-  called  the  warp  flush 
sateen,  and  those  in  which  the  filling  predominates  on  the  face 
being  called  the  filling  flush  sateen. 

The  peculiarity  of  these  weaves  is  that  the  order  of  inter- 
weaving the  two  sets  of  threads  does  not  follow  consecutively, 
but  at  definite  intervals,  special  care  being  taken  that  at  no 
point  do  they  follow  consecutively. 

An  example  of   the  simplest  kind,  and  one  most  commonly 

employed,  is  derived  from 
the  five-harness  common 
twill  (Fig.  125),  where 
the  filling-  predominates 
on  the  face,  running-  to 
the  right  at  an  angle  of 
'  ^*  45  degs.,  and  consecu- 
Ffe.  126.  tively  if  2j  3,  4,  5,  chang- 

ing this  weave  over  to  a  sateen  weave  (Fig.  126),  it  will  be 
observed  that  the  order  of  interweaving  is  at  set  intervals. 

To  obtain  the  combination  for  the  designing-  of  a  sateen: 
Take  the  number  of  harnesses  of  the  original  twill-weave  on 
which  it  can  be  woven,  and  divide  that  number  into  two  parts, 
which  must  be  neither  equal  nor  one  the  multiple  of  the  other,  nor 
must  they  be  divisible  by  a  third  number.  In  constructing  the 
weave  (Fig.  126)  in  accordance  with  the  rule,  five,  the  number  of 
harnesses  on  which  the  twill  (Fig-.  125)  is  woven,  is  divided  into 
two  parts,  which  are  two  and  three. 

To  construct  the  weave  to  form  the  sateen  from  these  two 
figures,  the  method  is  to  use  either  two  or  three  as  the  number 
to  count  off  with.  If  three  is  used,  it  will  be  found  that  the  picks 
of  the  twill  would  be  used  in  the  following- order:  A,  D,  B,  E,  C, 
which  produces  the  sateen  weave  shown  at  Fig.  |5| 
126.  This  is  the  filling-  flush  sateen  and  the 
reverse  or  warp  flush  weave  as  shown  in 
Fig.  127.  This  is  constructed  after  the 
same  manner  as  the  filling  flush  weave,  except 
the  one  down  and  four  up  warp  flush  weave  is 
used.  Fiff.  127. 

From  a  six-harness  twill  no  regular  sateen  can  be  made,  the 
number  of  harnesses  not  being-  divisible  according-  to  the  rule.  An 
irregular  weave  can  be  produced,  but  it  is  not  desirable,  as  there 


66 


DESIGN  TEXTS. 


■ 


will  be  two  threads  or  two  picks  running 
consecutively  in  some  parts  of  the  weave. 
The  best  combination  is  made  bv  using 
the  threads  of  the  twill  in  the  following- 
order,  1,  3,  5,  2,  6,  4.  See  figures  128 
and   129.      Seven   harness  sateen   can  be 


*■■  ■  ■  $:mk: 
k  V  «,„*' :  fir: 

,iti:i:t:;oi; 


Fif.  128        anu    i4v.      oeven   narness   sateen   can   De        Flg'  129' 
obtained  according  to  rule.     See  Fig.  130  and  Diagram  131. 

As   a  further   demonstration,  take  the   eight   harness  filling 
flush  twill,  one  up  and  seven  down.     Fig.  132. 

According  to  rule,  divide  the  twill  into  two  parts  of  unequal 

numbers,  three  and     ^m...mm  ^m 

five.    Four  and  four 

would  be  equal,  six 

and    two   would   be 

divisible  by  a  third 

I |    number.      To  have 

Fiff.  130.  a  thorough    knowl- 

edge and  understanding,  take  the 
twill  and  study  every  pick;  take 
three  as  the  number  to  count  off 
with. 

The  first  pick  of  the  sateen  will 
be  the  first  pick  of  the  twill;  the  second  pick  is  found  by  adding 
three  to  the  first  pick,  which  makes  it  the  fourth  pick  of  the 
regular  twill;  then  adding  three  to  four,  makes  it  the  seventh 
pick  of  the  twill;  to  this  seven  three  is  added,  which  shows  that 
the  fourth  pick  of  the  sateen  is  the  tenth  of  the  twill,  but  as  the 

,  ,  twill     repeats    on 

5lAJT[£g^q_|   eig.ht    picks5    tne 

second  corre- 
sponds to  the 
tenth  and  is  the 
fourth  of  the 
sateen;  to  the 
second  pick  three 
is  added,  which 
Fig.  132.  Fig.  133.  makes  the  fifth  of 

the  twill  and  also  the  fifth  of  the  sateen;  to  the  fifth  three  is  added, 
which  makes  the  eighth  of  the  twill  the  sixth  of  the  sateen;  to  the 
eighth  three  is  added,  which  makes  eleven,  the  third  pick  is 
equivalent  to  the  eleventh  and  seventh  of  the  sateen;  to  the  third 


DESIGN  TEXTS.  67 


three  is  added  and  so  the  sixth  of  the  twill  is  the  eighth  of  the 
sateen;  if  three  is  again  added,  the  first  pick  of  the  twill  will  be 
the  next  one  to  be  used,  which  will  show  that  the  repeat  of  the 
weave  has  been  obtained.  The  eight-harness  sateen  is  formed 
by  using  the  picks  of  the  twill  in  the  following  order:  1,  4,  7,  2,  5, 
8,  3,  and  6.     See  Fig.  133. 

In  laying  out  a  cloth  of  this  description,  the  number  of  threads 
either  in  warp  or  filling  is  of  the  greatest  importance.  The  warp 
threads  in  a  warp-flush  weave  should  be  placed  as  close  together 
as  their  diameters  will  permit.  As  the  filling  is  inserted,  one 
thread  will  be  withdrawn  from  the  surface  of  the  fabric  and  will 
bend  round  the  filling  at  the  back.  As  the  next  pick  is  inserted 
a  different  thread  will  be  withdrawn,  the  first  one  returning  to 
its  original  position.  As  the  threads  are  not  withdrawn  in  regu- 
lar or  consecutive  order  the  filling  does  not  bend  round  the  warp 
in  a  great  degree,  but  remains  straight,  the  warp  only  being 
drawn  out  of  its  course.  That  being-  so,  the  filling  threads  can- 
not be  laid  close  together,  but  will  always  be  separated  from 
each  other  by  at  least  the  diameter  of  the  warp  thread;  there- 
fore, there  should  be  a  greater  number  of  warp  threads  per  inch 
than  filling  picks. 

If  the  fabric  is  for  a  useful  purpose,  as  well  as  to  bear  strain, 
the  material  which  is  present  in  least  quantity,  whether  it  be 
filling  or  warp,  should  be  of  sufficient  strength  to  compensate  for 
the  absence  of  quantity,  otherwise  the  fabric  will  be  able  to  bear 
strain  in  one  direction  only,  whereas  by  proper  attention  to  the 
strength  of  the  material  employed  we  may  make  it  able  to  bear 
the  requisite  strain  in  both  directions.  If  it  is  desired  to  produce 
on  the  fabric  a  smooth  unbroken  surface,  with  no  pattern  visible, 
the  warp  threads  may  be  placed  so  closely  together  that  as  one  is 
withdrawn  to  bend  round  the  filling  those  on  each  side  of  it  will 
close  over  the  vacancy  and  completely  hide  the  point  where  it  was 
interwoven  with  the  filling.  In  that  case  the  number  of  warp 
threads  would  be  increased  in  proportion  to  the  number  of  filling, 
and  consequently  the  fabric  will  be  capable  of  bearing  an  in- 
creased strain  upon  the  warp,  but  a  decreased  strain  in  the 
direction  of  the  filling.  Exactly  the  same  principle  will  apply  to 
fabrics  where  a  filling  surface  is  desired,  the  warp  threads  being 
set  such  a  distance  apart  as  will  permit  of  the  filling  threads 
passing  readily  between  and  bending  around  them. 

The  filling  threads  are  inserted  as  closely  as  their  diameters 
will  allow,  and  in  some  cases  so  as  to  pass  over  and  hide  the 
point  where  filling  has  bent  around  the  warp,  and  again,  in  many 
cases,  so  closely  that  the  filling  is  compressed  and  loses  its 
cylindrical  form.  In  such  fabrics  the  greatest  strength  is  in  the 
direction  of  the  filling  in  proportion  to  the  quantity  of  material 
employed. 


6S 


DESIGN  TEXTS. 


EXERCISES  IN  SATEEN  MOTIFS. 

(\4)     "Work  out  weaves  from  the  following: 

ai^/'  «VtV«   w^W1 

©iyV^A   ^Wi/1    W^^/* 

*>Wi/»  m^^i/"  «^^A 


(10) 


3     3 


3     2 


h/4^^/5^1^/6 


(i9)  8-T-r-g/8  w  i^/«  (2.)i1LJ_T/_3 

(22)3_J_4/_5       fl*!^/.        -H)i^/-» 

(5)     Write  the  order  of  weaving,  and  move  numbers  for  each 
of  the  following  weaves  25 — 30,  both  warp  way  and  filling  way. 


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25  26  27 

(Exercise  continued  on  next  page.) 


DESIGN  TEXTS. 


69 


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28  29  30 

(C)    Make    plans  with  bases  31 — 33  and  order  of  weaving 

and  with  bases  34 — 38  and  order  of  weaving  —  ~ — s — = 

2     2  1     ti     1 


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37  38 

(Exercise  continued  on  next  page.) 


70 


DESIGN  TEXTS. 


(D)Make  two  plans  on  each  of  the  accompanying  basest — 41, 


_•  •  _ 

_•_  • 

_• • 

_~«_  _• 

•  _  • 

•  •        

-----»—--  r— ----- — -         n  I  I  I  I  I  I  1  i  ui  I 

_•_  •  _•_ 

•  """  • • ' 

a""""I"  MM  iLrriLJ        t     M  I HUE 


39  40  41 

(J?)  Run  out  plans  42 — 45  to  one  complete  pattern  of  each. 


42 


— 1 

•  •< 

»Ti        •  •* 

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44 


45 

(i*1)  Give  two  bases  on  13  threads  and  run  out  two  plans  on 
each  base 


(i) 


(6?)  Make  plans  as  follows: 
4     1     1 


(3) 


2     2 


4     1     1 

2     2     2 


o/3-1  <*>■    iVg/4"* 


/5_3  C4)LAA_/2  +  0 


<7)  ^r-r-i/5-8         (8)  ^r-r-i/5-1-1 


(9)  3     2     2      /3  —  2  -f  2     (10)  3     2     2  ft  /4  —  3  -}-  2 
w       2     1     2'  ^        v     '       2     1     2/  T 


DESIGN  TEXTS. 


71 


(//)  Give  order  of  weaving  and  move  of  the  following  plans; 
(11)    32212  2/4-2  +  l      02)  ^/0  +  2 

(13)   ?-3/°  +  °  +  3  (14>  ^-3/°  +  3 


(17) 


4     11 

2     2     2 


/5-1-1      (IS)  3_i_i_/5-l- 


(19)  111T^/5-1-1     <20>  ^i^/5-1-1 


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C  D 

(Exercise  continued  on  next  page.) 


72 


DESIGN  TEXTS. 


(/)Make  two  plans  on  each  of  the  accompanying  bases' 21 — 30. 


• 

"* ~  •       _ 

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HI  HIM  II  Mil       •  II   l-l  III  11:: 


29  30 

(Exercise  continued  on  next  page.) 


DESIGN  TEXTS. 


(%")  Runout  plans  31  — 36  until  complete. 


•[•j*|1   |oT7      |   |«l 

?•_•_'        _9      it* 

J«t7l]   I  |*l    *•  •  • 


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36 


(iT)  Give  one  complete  repeat  of  plans    37 — 43  and  write 
order  of  weaving  and  move  number  for  each. 


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N 

74  DESIGN  TEXTS. 


SATEEN    STRIPES. 

In  designing-  fancy  fabrics  for  the  white  cotton  trade  the  de- 
signer is  frequently  compelled  to  depend  almost  entirely  upon  the 
weave  to  obtain  different  effects.  When  the  warp  and  filling  are 
both  white,  this  becomes  a  necessity.  There  is  another  method, 
however,  and  it  is  one  that  is  often  useful,  namely,  the  manner  in 
which  the  warp  is  reeded.  In  some  patterns  it  is  necessary  to 
have  some  parts  of  the  warp  reeded  in  greater  numbers  than  in 
other  sections,  that  is,  in  some  parts  of  the  reed  each  dent  con- 
tains 2  threads,  while  in  other  sections  the  reed  may  contain  3,  4, 
5  or  even  6  in  one  dent.  Six  is  generally  considered  the  high- 
est number,  but  in  some  rare  cases  even  8  or  10  threads  are  put 
in  the  same  dent. 

Nearly  all  the  fancy  white  goods  that  are  made  have  for  the 
body  or  groundwork  of  the  fabric  the  regular  plain  or  cotton 
weave,  1  up  and  1  down.  The  stripe  in  the  warp  will  be  either 
a  twill,  broken  twill,  or  sateen  weave,  warp  flush,  and  the  over- 
check  will  be  a  sateen  weave,  filling  flush.  The  sateen  weave  is 
generally  combined  with  other  weaves  to  make  stripes  and 
checks. 

Stripes  consist  of  bands  or  lines,  varying  in  width  and  color, 
running  lengthwise  of  the  cloth,  viz.,  in  the  direction  of  the  warp. 
The  distinctive  character  of  this  make  of  goods  is  its  line-like 
composition.  All  patterns  of  this  order  are  nothing  more  than  a 
blend  of  lines  of  various  shades  and  weaves.  They  are  of  vary- 
ing widths  and  extend  from  one  end  of  the  fabric  to  the  other. 
Although  this  form  of  pattern  is  well  adapted  to  trouserings, 
shirtings,  and  some  styles  of  dress  and  mantle  cloths,  it  is  not 
suitable  for  coatings  and  even  suitings  when  extended  beyond  a 
very  minute  stripe  of  the  hair  line  description. 

The  variety  of  these  stripes  is  very  extensive,  both  as  to 
shade  and  color,  commencing  with  a  single  thread  hair  line,  and 
increasing  in  size  until  a  stripe  or  band  several  inches  wide  is  ob- 
tained. 

The^prominence  of  the  different  weaves  employed,  the  bands 
or  lines  of  color,  their  distinctness,  solidity,  their  intermittent 
character,  and  their  subdued  tone  aspect,  are  all  qualities  depend- 
ing on  the  structure  of  the  fabric  and  its  weave  composition. 

The  pattern  in  striped  styles  is  principally  a  warp  product, 
and  the  filling  in  such  cases  only  of  secondary  consideration. 
The  filling  is  employed,  first,  tc/bind  the  warp  threads  together 


DESIGN  TEXTS.  75 


and  thus  form  a  wearable  fabric;  second,  to  constitute  an  appro- 
priate groundwork  on  which  the  warp  colorings  may  be  correctly 
exposed. 

Proper  emphasis  of  the  colors  composing  the  stripes  is 
acquired  by  employing  a  suitable  shade  of  filling,  and  by  adopt- 
ing that  system  of  crossing  or  interweaving  which  will,  in  add- 
ition to  yielding  the  requisite  strength  and  firmness  of  fabric, 
sufficiently  interfere  with  the  continuity  of  the  fancy  shades 
introduced  into  the  warp. 

Some  are  mere  lines,  no  wider  than  the  diameter  of  the 
threads  employed,  while  others  are  several  inches  wide.  Two 
colors  may  be  introduced  to  form  stripes  of  different  widths; 
for  example,  black  and  a  dark  mix  may  be  combined  to  give 
stripes  of  many  descriptions. 

We  could  use  1  thread  of  black  and  1  thread  of  dark  mix, 
which  would  make  a  stripe  of  the  hair-line  description,  using 
the  plain  weave  for  the  intercrossing;  or  2  threads  of  black  and 
1  thread  of  dark  mix,  using  the  3-harness  twill  for  the  inter- 
weaving. Thus  we  might  continue  on  these  principles  and  form 
sets  of  stripes  of  variable  widths  or  sizes,  The  character  of 
these  styles  to  a  very  great  extent  is  governed  by  the  class  of 
texture  in  which  they  appear.  Examples  of  this  occur  in  the 
various  fabrics  produced  by  the  loom.  Take,  for  example,  stripes 
for  trouserings,  which  are  generally  small  to  medium  size,  softly 
and  neatly  toned  in  coloring.  In  dress  goods,  mantlings  and 
ulsterings  are  found  much  broader  effects,  more  elaborate  in 
arrangement,  and  which  require  much  greater  force  of_  coloring. 

In  cotton  shirtings  small,  neat  styles  are  considered  the 
best,  but  in  cotton  dress  goods  there  seems  to  be  no  definite 
limit,  either  as  to  the  width  of  the  stripe  or  to  the  radical  plan 
of  coloring.  For  aprons,  children's  dress  goods  and  such  fabrics 
as  tickings  and  awnings,  stripes  are  used  to  a  considerable  ex- 
tent. To  form  a  practical  idea  of  what  is  meant  by  a  sateen 
stripe  the  following  particulars  should  be  thoroughly  understood. 

Sateen  Tick  Stripe.  When  the  name  "Sateen  Tick"  is 
used,  the  general  impression  is  that  of  a  line  of  goods  or  a  fabric 
which  in  some  way  resembles  a  sateen.  But  a  sateen  tick  is 
in  no  way  like  a  satin,  being  used  for  an  entirely  different 
purpose.  Thesev  goods  are  made  entirely  of  cotton,  and  are  used 
for  upholstery;  the  name  "Sateen  Tick"  being  taken  from  the 
weave,  which  is  a  sateen  weave. 


76 


DESIGN  TEXTS. 


There  is  quite  a  demand  for  this  fabric,  but  the  manufacture 
of  it  is  chiefly  in  the  hands  of  a  few  large  mills,  which  monop- 
olize the  industry.  In  many  mills  in  which  this  fabric  has  been 
attempted  a  2-ply  yarn  has  been  used  for  the  warp,  and  this 
has  made  the  goods  harsh  in  feeling,  and  unfit  for  this  purpose. 
The  only  proper  way  to  make  them  feel  soft  is  to  use  combed 
cotton  yarn  for  the  warp  and  the  same  stock  for  the  filling,  but 
having  the  filling  twisted  harder  than  the  warp.  The  best  fabrics 
on  the  market  have  98  threads  to  the  inch  of  single  7's  and  about 
52  picks  of  single  14's.  The  weave  which  is  used,  and  from 
which  the  fabric  obtained  its  name,  is  the  sateen  weave,  warp 
flush  which  throws  the  warp  entirely  on  the  face.  It  makes  a 
smooth  face,  free  from  twill  lines,  with  the  points  of  intersection 
evenly  distributed.  The  5-harness  sateen  is  the  simplest  kind. 
As  before  stated  these  weaves  are  constructed  by  taking  the 
number  of  harnesses  to  be  used  for  the  sateen,  and  dividing  it 
into  two  parts  neither  of  which  are  equal,  nor  one  a  divisor  of 
the  other;  still  further,  neither  divisible  by  a  third  number. 

The  stitching  for  the  weave,  or  the  interlacing  of  the  warp, 
is  obtained  in  the  following  manner: 

The  first  intersection  will  be  on  warp  thread  No.  1;  the 
next  intersection  will  be  either  on  the  third  or  fourth  warp  thread, 
according  to  whether  the  weave  is  counted  by  twos  or  by  threes. 
If  counted  by  twos  the  intersections  will  be  as  follows:  1,  3,  5,  2,  4. 
Almost  all  of  these  goods  are  woven  on  this 
weave,  but  in  some  cases  the  eight-harness 
sateen  shown  in  Fig.  133  is  used.  The  intersec- 
tions are  as  follows:  1,  4,  7,  2,  5,8,3,6.  This  is  con- 
structed on  the  same  principle  as  the  five-harness 
sateen,  but  there  are  fewer  intersections  of  the 
warp;  consequently  this  allows  more  picks  and  makes  a  heavier 
fabric.  These  sateens  are  very  desirable  goods,  as  they  may  be 
woven  easier  and  faster  on  account  of  the  weave.  The  line  of 
colors  should  be  as  simple  as  possible,  because  the  fewer  the 
colors  the  less  the  expense.  The  following  is  a  line  of  colors  in 
use  in  one  of  the  largest  mills  in  the  country:  Black,  white,  red, 
very  light  tan,  medium  tan,  dark  blue,  brown  and  light  brown. 
These  colors,  if  made  in  light  shades,  can  be  combined  in  a  great 
variety  of  effects  and  produce  innumerable  patterns. 

The  following  will  give  good  results  and  splendid  combin- 
ations, and  will  also  give  the  size  and  style  of  the  stripes.     An 


mr 

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DESIGN  TEXTS.  77 


attractive  effect  having-  a  very  broad  stripe  can  be  produced  by 
120  threads  of  red,  10  white,  60  light  tan,  4  dark  blue,  10  medium 
tan,  4  dark  blue,  60  medium  tan,  4  dark  blue,  10  medium  tan,  4 
dark  blue,  69  light  tan,  and  10  white. 

This  can  be  varied  and  will  make  another  very  effective  style 
by  using  120  threads  of  dark  blue  in  place  of  red,  the  rest  re- 
maining the  same.  Another  good  coloring  is  made  as  follows: 
10  threads  red,  10  dark  blue,  88  red,  10  dark  blue,  10  red,  50 
white,  6  dark  blue,  10  dark  tan,  6  dark  blue,  10  dark  tan,  6  dark 
blue,  10  dark  tan,  6  dark  blue,  50  white,  2  dark  blue,  16  red,  2 
dark  blue,  50  white. 

In  all  these  dressings  the  color  can  be  varied;  the  number  of 
threads  may  also  be  increased  or  decreased  at  pleasure.  The 
principle  effect  desired  is  contrast  of  color,  combined  with  har- 
mony.    There  is  no  limit  in  the  range  of  design. 

COTTON   SATEEN   STRIPE. 

The  yarn  used  for  this  class  of  fabric  varies  from  40's  to  70's, 
although  a  large  proportion  is  between  50's  and  60's.  There  are 
also  large  quantities  of  2  ply,  4  ply,  and  sometimes  6  ply  yarn 
used  in  cotton  cords  and  stripes.  The  filling  for  such  goods  will 
range  from  60's  to  90's. 

The  texture  of  the  fabric  in  the  plain  part,  that  is,  the  part 
between  the  sateen  stripes,  will  vary  from  60  threads  x  60  picks 
to%  threads  x  80  picks.  The  width  of  the  goods  is  generally 
from  27  to  28  inches,  though  goods  made  especially  for  aprons 
will  run  from  40  to  42  inches. 

For  an  illustration,  let  us  make  a  cloth  28  inches  wide,  having 
for  the  design  a  sateen  stripe,  with  plain  stripe  ground  for  1  inch; 
sateen  or  broken  six-harness  twill,  %  inch;  plain  ground,  %  inch; 
broken  twill,  %  inch.     Total  width  of  stripe  to  be  \Y\  inches. 

28  inches  ~-  1.75  inches  =  16  repeats  or  designs  across  the 
cloth.  Suppose  we  make  the  body  of  the  warp,  or  what  we  have 
already  called  the  plain  or  ground  work,  80  threads  to  the  inch. 
Then  we  have: 

%  inch  broken  twill 
%  inch  groundwork 
%  inch  broken  twill 
1    inch    groundwork 

It  is  to  be  divided  into  a  reed  with  40  dents  to  the  inch,  or,  as 
is  usually  understood,  a  40's  reed;  2  threads  in  one  dent  =  80 
threads  per  inch.     When  making  a  pattern  with  one  part  of  the 


78 


DESIGN  TEXTS. 


design  larger  than  the  other,  divide  the  larger  portion  into  two 
parts,  so  that  the  design  will  commence  at  one  side  of  the  cloth 
and  will  be  equal  to  the  design  at  the  extreme  edge  or  other  side 
of  the  cloth.  Our  typical  design  has  one  inch  of  plain  or  ground 
which  we  divide  into  two  equal  parts. 

The  way  to  lay  out  this  piece  of  cloth  will  be  as  follows: 


Y*  inch  plain  20  dents 

%  inch  stripe  10  dents 

%  inch  plain  10  dents 

%  inch  stripe  10  dents 

Yz  inch  plain  20  dents 

70 


2  threads  in  one  dent  =  40  threads 
6  threads  in  one  dent  =  60  threads 
2  threads  in  one  dent  =  20  threads 
6  threads  in  one  dent  =  60  threads 
2  threads  in  one  dent  =  40  threads 

220 


Thus  it  will  be  seen  that  one  pattern  occupies  70  dents,  and 
as  we  have  already  decided  that  there  are  to  be  16  repeats  of  the 
pattern,  we  shall  require  16  x  70  =  1,120  dents  exclusive  of 
selvedge.  Add  10  dents  on  each  side  for  selvedge,  this  making 
total  of  1,140  dents. 

1,140  dents  -^-  40  =  28^  inches. 

The  reed  must  be  28^  inches  wide. 

Two  hundred  and  twenty  threads  in  one  pattern  x  16  =  3,520 
threads.  The  selvedge  is  composed  of  20  double  threads,  2  in  a 
dent  on  each  side. 

Left  selvedge  20  double  threads  =       40 

Bod}-  of  warp  =  3,520 

Right  selvedge  20  double  threads  =       40 

Total  number  of  threads  =  3,600 

Fig.   134  represents  a  good  weave  for  a  six-harness  broken 

twill.     This  weave  is  especially  recommended  for  this  purpose. 

The  next  thing  to  make  is  the  drawing-in  draft,  or  harness 
draft  and  chain. 

Also  leave  for  selvedges  10  empty  heddles 
on  the  right  and  left  sides  of  the  4-front  har- 
nesses. 

The  first  40  threads  on  the  4-front  har- 
nesses, which  are  forming  a  plain  weave;  the 
second  section  of  threads  which  are  drawn 
on  the  6  back  harnesses,  and  are  weaving  a 
6-harness  broken  twill;  the  third  section  of 
the  threads  which  are  drawn  on  the  4  front  harnesses;  the  fourth 
section  of  threads,  which  are  drawn  on  the  6  back  harnesses; 
and  the  last  section  of  40  threads  on  the  4  front  harnesses,  make 


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Figr.  134. 


DESIGN  TEXTS. 


79 


one  repeat  of  the  pattern  or  220  threads.  This  operation  is  re- 
peated 16  times,  and  when  finished  will  have  completed  the  body 
of  the  warp,  or  3,520  threads.     Now  draw  in  the  double  threads 


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Fig.  135.  Fig.  13C. 

for  the  selvedges  on  each  side  of  the  warp.  The  foregoing-  is  a 
systematic  way  of  obtaining-  the  layout  of  a  design,  chain  and 
harness  draft;  but  in  some  mills  the  drawing-in  or  harness  draft 
would  be  laid  out  as  follows: 


Repeat 

16 
times 


10  double  threads  on  1,  2,  3,   4. 

40  threads  on  1,  2,  3,  4. 

60  threads  on  5,  6,  7,  8,  9,  10 

20  threads  on  1,  2,  3,  4. 

60  threads  on  5,  6,  7,  8,  9,  10 

40  threads  on  1,  2,  3,  4. 


for  selvedges 
for  plain  weave 
for  broken  twill 
for  plain  weave 
for  broken  twill 
for  plain  weave 


I     220  x  16 

10  double  threads  for  1,  2,  3,  4.  for  selvedges 

There  is  another  very  important  matter  to  which  particular 
attention  must  be  paid;  that  is,  the  question  of  how  many  wires 
or  heddles  must  be  placed  on  each  harness  shaft,  thus  preventing 
any  possibility  of  overcrowding  the  wires  or  heddles  on  any  or  all 
of  the  harnesses.     Take  our  previous  example  for  illustration. 
On  the    1st  harness     25  threads  X  16  patterns  =  400  heddles 
25  threads  X  16  patterns  =  400  heddles 
25  threads  X  16  patterns  =  400  heddles 
25  threads  X  16  patterns  =  400  hecdles 
20  threads  X  16  patterns  =  320  heddles 
20  threads  X  16  patterns  =  320  heddles 
20  threads  X  16  patterns  =  320  heddles 
On  the    8th  harness     20  threads  X  16  patterns  =  320  heddles 
On  the    9th  harness     20  threads  X  16  patterns  =  320  heddles 
On  the  10th  harness     20  threads  X  16  patterns  =  320  heddles 


On  the 

2d   harness 

On  the 

3d   harness 

On  the 

4th  harness 

On  the 

5th  harness 

On  the 

6th  harness 

On  the 

7th  harness 

Also  on  the  4-front  harness  5  extra  for  selvedges 

Total 


3,520  heddles 
20  heddles 

3,540  heddles 


80  DESIGN  TEXTS. 


In  this  cloth  we  will  suppose  there  are  72  picks  per  inch. 

In  weaving-  this  class  of  fabric,  there  is  often  much  trouble 
caused  by  filling-  kinks.  The  filling  is  apt  to  catch  on  the  sateen 
stripe,  and  unless  the  shed  is  perfect  and  clear  there  will  be 
trouble  of  this  kind.  Under  these  circumstances  it  is  necessary 
that  the  harnesses  are  properly  hung,  and  that  they  are  making 
a  clear,  even,  open  shed.  Almost  all  mills  engaged  in  weaving 
this  class  of  goods  use  a  head  motion  known  as  the  dobby.  The 
Crompton,  Knowles  and  Stafford  being  the  most  popular.  As  the 
goods  are  woven  with  one  shuttle  the  looms  can  be  run  at  a  very 
high  rate  of  speed,  for  which  the  dobby  or  head  motion  is  espe- 
cially adapted.  These  dobbies  are  made  to  fit  any  kind  of  loom, 
and  it  is  quite  common  for  mills  to  put  them  on  their  plain  looms, 
to  be  used  thereafter  for  fancy  weaving.  But  as  the  loom  can 
weave  with  but  one  shuttle,  it  is  confined  to  striped  goods. 

Overchecks.  In  making  patterns  for  plaids,  proceed  in  the 
same  manner  as  with  the  stripes  to  find  the  number  of  warp 
threads.  It  is  the  filling  check  or  overplaid  that  will  give  most 
of  the  trouble  in  these  patterns. 

To  get  the  stripe  or  overcheck  in  the  filling  of  the  same 
density  as  the  broken  twill  or  sateen  stripe  in  the  warp,  the  take- 
up  motion  must  be  prevented  from  working,  so  that  the  filling 
threads  may  be  beaten  up  closely,  to  correspond  with  the  broken 
twill  in  the  warp.  To  accomplish  this  a  wire  is  attached  to  the 
pawl  that  pushes  or  pulls  the  rachet  gear,  and  is  fastened  at  the 
other  end  to  one  of  the  levers  that  work  the  harnesses.  Wherever 
the  take-up  motion  should  stop,  a  pin  is  inserted  in  the  chain  at 
the  proper  place.  The  pin,  in  lifting  the  lever,  pulls  the  wire 
that  is  fastened  to  the  pawl,  thus  lifting  it  up  and  thereby  stop- 
ping the  take-up  motion. 


DESIGN  TEXTS. 


81 


Pi*.  137 

The  question  now  arises  of  how 
often  the  take-up  motion  should  be 
stopped  while  weaving-  the  check. 

We  will  again  take  our  example: 
to  make  the  filling  compare  with  the 
warp,  there  will  need  be  as  many 
picks  in  %  inch  as  there  are  in  the 
corresponding  stripes  in  the  warp, 
which  is  60.  It  will  be  found,  how- 
ever, in  practice,  that  54  will  be 
sufficient.  Supposing-  there  are  72 
picks  per  inch,  in  %  of  an  inch 
there  would  be  18,  but  the  over- 
plaid  calls  for  54.  The  ratchet  gear 
is  taking  up  1  tooth  every  2  picks, 
thus  moving  9  teeth  for  every  %  of 
an  inch  of  cloth  woven;  therefore,  to 
get  54  picks  in  that  space,  there 
must  be  6  picks  for  every  tooth  taken  up,  so  it  follows  then  that 
out  of  every  6  bars  in  the  pattern  chain,  4  of  them  will  have  to 
contain  pins  in  order  to  stop  the  take-up  motion. 

The  best  weave  for  the  stripe  or  overplaid,  when  there  are 
an  even  number  of  threads  in  a  dent,  is  the  4-harness  broken 
twill,  or  crowfoot  weave.  In  making-  the  desig-n  for  a  filling 
stripe  of  this  description,  and  in  order  to  have  the  warp  stripe 
pass  smoothly  over  the  filling  check,  the  weave  must  be  made 
double  what  it  is  in  the  plain  part;  if  we  are  using  a  5  up  and 
1  down  weave,  it  must  be  made  to  run  exactly  double,  that  is, 
10  up  and  2  down,  when  it  comes  to  the  filling  stripe.  Fig. 
137  will  explain. 


Fiff.  138. 


82  DESIGN  TEXTS. 


There  must  be  two  extra  harnesses  allowed  for  selvedges 
on  patterns  of  this  nature,  otherwise  there  will  be  a  bad  sel- 
vedge where  the  filling-  stripe  is  being  woven.  Fig.  138  shows 
the  harness  chain  complete  for  weaving  a  plaid  from  a  stripe 
pattern  just  explained. 

SHADED  FABRICS. 

Shaded  fabrics  are  often  in  demand,  used  not  only  in  decor- 
ative Jacquard  work  in  general,  but  also  in  men's  wear  and  dress 
goods.  Shading  may  be  done  in  two  ways.  1,  by  using  different 
colors  of  yarn  in  warp  and  filling  and  changing  the  weave,  or  2, 
by  shading  the  colors  from  light  to  dark  and  using  the  same 
weave  throughout  the  pattern.  In  the  first  instance,  there  would 
be  a  light  warp  with  a  dark  filling.  The  reverse  would  produce 
a  similar  effect.  When  a  dark  filling  and  a  light  warp  is  used, 
a  filling  flush  weave  is  used  for  the  darker  portion  of  the  fabric 
and  gradually  changed  to  a  warp  flush  to  procure  the  desired 
effect  of  shade.  This  may  be  done  by  adding  extra  risers  to 
the  original  filling  flush  weave.  The  original  filling  flush  weave 
or  base  weave  may  be  either  a  twill  or  a  sateen.  The  base 
weave  is  carried  to  the  full  extent  of  the  design.  The  differ- 
ent portions  of  the  shaded  design  then  outlined  and  the  slightly 
varying  weaves  are  placed  in  their  proper  positions,  according 
to  the  density  of  shading  required. 

SATEEN  WEAVES. 

1.  Define  the  following  terms:  (a)  satin,  (/;)  satinet,  (r) 
Kentucky  Jean. 

2.  What  fabrics  are  woven  from  satin  effects? 

3.  Describe  the  uses  of  satin  effect  in  cotton  and  woolen 
goods. 

4.  What  weaves  are  used  as  foundations  for  sateen  weaves? 

5.  Define  the  difference  between  a  warp  flush  and  filling 
flush  sateen. 

6.  What  peculiarity  exists  in  the  interweaving  of  the  warp 
and  filling  of  a  sateen  weave? 

7.  What  is  the  method  used  for  "obtaining  the  combination 
for  the  designing  of  a  sateen?"     Describe  fully. 

8.  Construct  a  five-harness  sateen  from  the  one  up,  four 
down  twill,  (a)  using  two  as  a  move  number;  (b)  using  three  as  a 
move  number. 


DESIGN  TEXTS.  83 


9.     How  is  a  six-harness  sateen  constructed? 

10.  Give  all  the  possible  move  numbers  for  the  following- 
sateen  weaves:  seven-harness,  eight-harness,  nine-harness,  ten- 
harness,  eleven-harness,  twelve-harness,  thirteen-harness,  four- 
teen-harness,  fifteen-harness  and  sixteen-harness. 

11.  Illustrate  the  method  of  constructing  a  sateen  weave 
(pick  by  pick)  by  using  the  eight-harness  one  up,  seven  down, 
move  number  three. 

12.  When  weaving  a  warp  flush  sateen,  how  close  should  the 
warp  threads  be  set  in  the  loom? 

13.  Describe  fully  the  interweaving  of  warp  and  filling  in  a 
warp  flush  sateen. 

14.  Compare  the  strength  necessary  for  warp  and  filling  in 
a  filling  flush  sateen. 

15.  How  is  a  smooth,  unbroken  surface  produced  by  (a) 
a  warp  flush  sateen;  (b)  a  filling  flush  sateen? 

CORKSCREW  AND  DOUBLE  TWILL  WEAVES. 

These  weaves  are  chiefly  used  in  the  manufacture  of  worsted 
suitings  and  trouserings  and  in  some  branches  of  silk  manufac- 
ture. They  are  similar  to  oblique  warp  effect  rib  weaves  in  that 
they  require  a  fine  or  close  sett,  since  the  warp  forms  to  a  great 
extent  the  surface  of  both  face  and  back  of  the  cloth,  the  filling 
being  merely  embedded  between  alternate  warp  threads. 

With  reference  to  the  theory  of  constructing  this  class  of 
weave,  the  true  corkscrew  is  constructed  from  the  regular  twill 
weaves  on  an  uneven  number  of  harnesses,  by  using  the  regular 
45  degree  twill  for  a  chain  and  drawing  the  threads  through  the 
harnesses  in  the  same  order  as  the  intersections  would  occur  in 
any  given  sateen  weave  on  that  number  of  harnesses. 

The  regular  45  degree  twill  weave  must  have  the  warp  sec- 
tion lifting  one  point  in  excess  of  the  sinkers  or  filling  section, 

3                                   4                                   5 
thus: =  5  threads, =  7  threads, =   l)   threads, 

this  is  done  so  as  to  provide  for  the  overlapping  being  equal  at 
the  junction  of  the  corkscrew  twill. 

If  the  overlapping  of  floats  at  the  juncture  of  the  two  twills 
is  more  than  one  point,  the  effect  of  this  style  of  weave  will  be 
lost.  This  explains  the  reason  why  this  method  of  drafting  is 
impracticable  on  weaves  of  an  even  number  of  harnesses,  as  an 
even  number  cannot   be  divided  into  two   unequal  parts,  one  of 


84 


DESIGN  TEXTS. 


Fig.  139. 


which  will  exceed  the  other  by  one  point  only.     The  fewest  num- 
ber of  harnesses  to  make  a  corkscrew  weave  is  the  five-harness 

3 

—  45  degree  twill;  the  thirteen-harness  being  the  largest  cork- 
screw weave  in  practical  use. 

Fig-.  139  is  the  five-harness  45  degree  twill. 
Operation:  Divide  the  number  of  harnesses  into 
two  parts,  one  of  which  will  exceed  the  other  by  one 
point  or  unit,  thus  3  and  2  equal  5.  The  drawing-in 
draft  is  on  the  same  principle  as  constructing  a 
sateen  weave,  commencing  with  the  first  thread  on 
first  or  front  harness,  using  one  of  the  numbers  to 
count  off  with,  as  a  move  number,  thus:  first  thread  on  first  har- 
ness, second  thread  on  fourth,  that  is,  first  and  move  three,  will 
place  the  second  thread  on  the  fourth  harness;  fourth  and  move 
three,  will  place  the  third  thread  on  the  second  harness;  second 
and  move  three,  will  place  the  fourth  thread  on  the  fifth  harness; 
fifth  and  move  three,  will  place  the  fifth  thread  on  the  third  har- 
ness; third  and  move  three,  places  the  sixth  thread  on  the  first 
harness  which  is  the  same  as  the  first  and  determines  one  repeat 
of  the  weave. 

This  draft  shows  a  straight  draw  for  five  harnesses,  consid- 
ering every  other  warp  thread  only,  viz:  every  uneven  warp 
thread,  1,  3,  5,  7,  9,  etc.,  calling  in  turn  respectively  for  the  1st, 
2d,  3d,  4th  and  5th  harnesses;  the  even  warp  number  two  com- 
mences on  the  fourth  harness,  considering 
again  every  other  warp  thread  only,  viz: 
every  even  warp  thread,  numbers  2,  4,  6  and 
so  on,  calling  in  turn  respectively  for  har- 
nesses numbers  4,  5,  1,  2,  3.  The  draw  or 
draft  completed  will  read  1,  4,  2,  5,  3,  1,  4, 
2,  5,  3.     A  study  of   Figs.  140  and   141   will  Fi*-  14°- 

explain.     Explanation  in  detail: 

1st  thread  on  the  No.  1  harness,  count  off  3  places,  the 

3        ,,       ,, 
3 
3 


2d 

,,  4 

3d 

2 

4th 

„  5 

5th   ,, 

>,  3 

6th 

..  1 

7th 

,,   4 

8th   ,, 

2 

9th 

„  5 

10th 

,    .,  3 

DESIGN  TEXTS. 


85 


Fig-.  141  shows  the  corkscrew  weave  carried  to  its  full  ex- 
tent.    It  will  be  noticed  that  in  the  first 
half  of   the   draft   that  the  first  or  odd 
thread    commences    the   draw,   whereas 
in  the  second  part  of  the  draft  it  is  the 
sixth  thread  or  even  number  that  corn- 
Fig.  141.  mences  the  draw.     The   draft  must  be 
extended  to  double  the  original  weave  to  make 
one  full  repeat. 

Fig.  142  is  a  seven-harness  weave,  seven 
divided  into  two  parts,  one  of  which  will  exceed 
the   other   by   one   point  only,  4  and   3  equal  7. 

4 

45  degree  twill. 


Fig.  143  represents  the  harness  draft,  and 


Fig.  142. 


Fig.  143.  Fig.  144. 

Fig.  144  is  the  extended  design  or  corkscrew  twill.     Four  is  the 

move  number. 

Fig.  145  is  a  nine-harness  weave,  nine 
divided  into  two  parts,  one  of  which  will 
exceed  the  other  by  one  point  only,  5  and  4 

equal  9. 45  degree  twill,  with  5  for  the 

move  number.     Fig.  146  harness  draft.  Fig. 
147  extended  design. 

Uneven  balanced  weaves  will  always  pro- 
Fig.  145.  duce  more  perfect  corkscrew  weaves  than  the 
even-sided  twills,  since  it  is  only  possible  with  the  uneven-sided 
twills  to  balance  the  cut  off  of  the  double  twill.     The  direction 
of  the  twill  will  be  reversed  by  using  the  lesser  number. 


86 


DESIGN  TEXTS. 


Fig-.  146. 


Fig.  147. 


CORKSCREW  WEAVES  CONSTRUCTED  ON  AN  EVEN 
NUMBER  OF  HARNESSES. 

No  matter  which  even  harness  45  degree  twill  is  used  for 
foundation  for  an  even  harness  corkscrew  weave,  the  junction  of 
the  two  twills  will  be  faulty.  There  is  not  the  equal  cut  off  as 
produced  with  weaves  having-  an  uneven  number  of  harness  for 
repeat,  but  sometimes  a  corkscrew  weave  on  an 
even  number  of  harnesses  is  required,  especially 
with  fancy  effects  in  which  corkscrew  weaves 
are  used  in  combination  with  other  weaves. 
For  instance,  a  case  may  occur  when  a  cork- 
screw weave  for  an  even  repeat  of  harness  is 
required  to  connect  with  a  six-harness  twill. 
3 


Fig-.  148. 


Fig-.  148  is  the 


45  degree  twill. 


Fig.  149  drawing-in  draft.     Fig.  150  extended  design. 

It  will  be  noticed  that  with  this  weave  there  is  not  the  perfect 
junction  when  the  two  sections  meet  as  there  is  in  the  five- 
harness  weave.  This  is  always  with  an  even  sided  45  degree 
twill. 


Fig.  149.  Fig.  150. 

There   is  no  true   corkscrew   weave  on  an   even  number  of 
threads    less  than  twelve;  and    this   weave  is  composed  of   two 


six-harness  twills,  viz: 


Fig.  151,  and 


Fig.  152,  twills. 


3  "  "b'  ""'  ~~~  2 

To  obtain  the  even  cut  off  of  the  two  twills,  commence  with  the 


DESIGN  TEXTS. 


87 


first  thread  of  the 


twill  and    the  fourth  thread  of  the 


3  2 

twill,  then  take  the  threads  alternately  from  each  twill,  thus,  1,  4, 
2,  5,  3,  6,  4,  1,  5,  2,  6,  3,  Fig".  153;  this  weave 
repeats  on  12  threads  and  six  picks,  having-  a 
balanced  cut  off  between  the  double  twills,  how- 
ever, showing- two  slightly  different  sizes  of  twill 
effects,  that  is,  a  four  float  alternating  with  a 
three  float. 

Flt,>  lS1,  Again,  such  corkscrew  weaves  do  not  permit 

of  a  reduction  of  harnesses,  which  is  a  serious 
defect.  The  above  example  cannot  be  reduced 
to  less  than  twelve,  whereas  the  uneven  number 
corkscrew  weave  can  be  reduced  to  the  number 
of  the  original  45  degree  twill. 

When   corkscrew    weaves    are   made   from 
weaves  exceeding  nine  threads  and  picks  the  interlacing-  of  warp 

and  filling  is  very  loose,  so  that  the 
fabric  is  not  merchantable,  as  the  warp 
will  slip  off  the  filling.  To  remedy 
this  without  changing  the  face  of  the 
fabric,  the  warp  floats  upon  the  back 
tf««i5*  must  be    reduced    by   adding   one    or 

more  points  of  interlacing. 

Take  an  eleven-harness  45  degree twill.    To  change  this 

twill  so  that  it  will  bind  firmly,  the  five  sinkers  which  go  to  the 
._ back  must  be  made  to  inter- 


I"* * 

± * 

♦ 

"I" ± ±- 

: ♦ <t 

♦ ± 

* JL 


Fig.  155. 


1 


Fig.  154. 

lace -;  this  changes  the  45  degree  twill  to  interlace  - 

Z       Z  2        2 

=  11-harness. 

Figs.  154  and  155  illustrate  the  7-harness  weave  constructed 

the  wrong-  way.     Compare  these  Figs.  154   and    155   with    Fig-s. 

143  and  144. 


88  DESIGN  TEXTS. 


CORKSCREW  AND  DOUBLE  TWILL  WEAVES. 

1.  For  what  purposes  are  corkscrew  weaves  chiefly  used? 

2.  What  class  of  weaves  do  corkscrew  weaves  resemble  in 
regard  to  sett? 

3.  What  weaves  are   used   as  foundations    for  corkscrew 
twills? 

4.  What  weaves  do  the  drafts   for  corkscrews   resemble? 

5.  Are  the  foundation  weaves  warp  or  filling-  flush?     Why? 

6.  What  is  the  effect  if  the  overlapping-  is  more  than  one 
point? 

7.  Are  the  foundation  weaves  generally  on  an  even  or  odd 
number  of  harnesses? 

8.  Make  a  design  for  the  simplest  corkscrew  twill. 

9.  What  is  the  largest  number  of  harnesses  used  for  prac- 
tical use? 

10.  Give  a  complete  description  of  the  method  used  for  con- 
structing corkscrew  weaves. 

11.  Why  is  it  necessary  to  extend  the  draft  to  double  the 
original  weave?  Explain  with  an  illustration  of  the  five-harness 
corkscrew. 

12.  Give  move  numbers  for  corkscrew  twills  woven  on  the 
following  number  of  harnesses:  seven,  nine,  eleven,  thirteen. 

13.  What  advantage  is  gained  by  using  uneven  balanced 
twills  for  corkscrews? 

14.  How  may  the  direction  of  the  twill  be  reversed? 

15.  What  defect  is  found  when  using  an  even  harness 
twill  for  foundation? 

16.  How  is  an  even  cut-off  obtained  when  using  a  weave 
on  an  even  number  of  harnesses  for  foundation? 

17.  What  is  the  defect  in  this  method? 

18.  What  defect  is  noticeable  when  corkscrew  twills  are 
made  from  foundation  weaves  exceeding  nine  threads  and  picks 
are  used? 

19.  How  may  the  defect  in  Question  18  be  remedied? 

CIRCULAR  AND  SPOT  WEAVES. 

Broken  weaves  on  a  limited  number  of  harnesses  are  often 
required  in  the  manufacture  of  figured  cotton  and  silk  fabrics. 
These  weaves  may  be  constructed  by  the  so-called  circular 
method,  employing  either  one  or  two  weaves.  The  number  of 
different  weaves  that  may  be  constructed  from  the  same  founda- 


DESIGN  TEXTS.  89 


tion  weaves  is  limited  only  by  the  combining-  qualities  of  the 
weaves  used.  Taking- two  three-harness  weaves  as  an  example: 
3x3=9x4  =  36  points  of  interlacing  The  resulting  or 
circular  weave  repeats  on  6  threads  and  6  picks. 

6x6  =  36  points  of  interlacing. 
Two    four-harness    weaves    will  give  4  x  4  x  4  =  64  points  of 
interlacing. 

The  construction  of  circular  weaves  is  simple.  Fig.  151  is 
the  four-harness  swansdown  twill,  and  Fig.  152  the  four-harness 
crow   weave.     The  first  step   is   to  find  the  size  of  the  circular 

weave.  _ 

4  x  4  x  4  =  64.         V  64  =  8.         8x8. 

Marking  off  8  x  8  on  the  design  paper,  the  first  weave  (swans- 
down)  is  placed  on  alternate  threads  and  picks,  as  shown  in  Fig. 
153.  The  second  step  is  to  turn  the  paper  90°,  or  quarter  way 
around  to  the  right,  and  place  the  second  weave  (crow)  on 
alternate  threads  and  picks.  The  result  is  shown  in  Fig.  154. 
Third  step:  Turn  the  paper  90°,  or  on  alternate  threads  and 
picks,  as  in  Fig.  155.  The  fourth  and  last  step  is  to  turn  the 
paper  90°,  or  quarter  way  around  to  the  right,  placing  the  second 
weave  (crow)  on  alternate  threads  and  picks,  giving  the  complete 
circular  weave  in  Fig.  156.  Turning  the  paper  90°,  or  quarter 
way  around  to  the  right,  will  give  the  first  position,  Fig.  157. 

Figs.  158  and  159  are  two  four-harness  foundation  weaves, 
the  several  steps  in  the  construction  of  the  circular  weave  being 
shown  in  Figs.  160,  161,  162,  163,  and  164.  By  combining  Figs. 
157  and  164  the  circular  weave  in  Fig.  165  is  produced. 

Taking  the  first  foundation  weaves  used,  the  four-harness 
swansdown  and  crow,  many  different  effects  may  be  obtained  by 
commencing  either  or  both  of  these  weaves  on  a  different  thread 
or  pick. 

Fig.  166  swansdown  twill,  commencing  with  the  second  pick. 

,,     167  crow  weave,  first  pick. 

,,     168  resultant  circular  weave. 

,,     169  swansdown  twill,  commencing  with  the  third  pick. 

,,     170  crow  weave,  first  pick. 

,,     171  resultant  circular  weave. 

,,     172  swansdown  weave,  commencing  with  the  fourth  pick. 

,,     173  crow  weave,  first  pick. 

,,     174  resultant  circular  weave. 


90  DESIGN  TEXTS. 


From  this  it  may  be  seen  that  by  changing-  the  crow  weave  in 
a  similar  manner  the  number  of  effects  may  be  greatly  increased. 

Circular  weaves  are  used  to  a  great  extent  as  foundation 
weaves  for  crepes  and  similar  fancy  effects. 

Nos.  1,  2  refer  to  foundation  weaves,  No.  3  resultant  weave. 

SPOT  WEAVES. 

Spot  effects  may  be  produced  in  a  fabric  either  by  a  spot  in 
the  weave  or  by  the  use  of  an  additional  warp  or  filling  to  give  the 
spot  figure.  The  simplest  method  is  by  using  a  spot  weave, 
which  is  constructed  on  the  principles  used  for  circular  weaves. 

Fig.  175  is  the  cassimere  twill  carried  out  eight  threads  and 
picks.  Fig.  176  shows  the  same  weave  with  risers  removed  in 
the  order  of  an  eight  harness  sateen.  This  is  taken  as  a  founda- 
tion weave.  Combining  these  weaves  as  a  circular  weave  the  spot 
effect  in  Fig.  177  is  produced. 

A  second  method  of  constructing  spot  weaves  is  to  mark  off 
the  paper  the  size  required  for  the  design  and  laying  out  a  sateen 
weave.  Around  each  of  the  sateen  risers  a  figure  is  constructed 
so  that  a  spot  effect  may  be  obtained.  Fig.  178  illustrates  an 
eight-harness  sateen  on  a  design  16  x  16.  Fig.  179  is  the  same 
as  Fig.  178  with  a  spot  arranged  on  each  of  the  sateen  risers. 
Fig.  180  is  a  five-harness  sateen  spot  arranged  on  15  x  15.  Fig. 
181  is  an  eight-harness  sateen  arranged  on  24  x  16. 

A,  B,  C.     Examples  for  analysis. 

CIRCULAR  AND  SPOT  WEAVES. 

1.  What  governs  the  number  of  weaves  possible  from  the 
same  foundation  weaves? 

2.  How  is  the  number  of  points  of  interlacing  found? 

3.  Give  the  number  of  points  of  interlacing  in  a  circular 
weave  formed  from   two  four-harness  foundation   weaves? 

4.  For  what  purposes  are  circular  weaves  used? 

5.  Explain  the  first  step  in  constructing  a  circular  weave. 
Illustrate. 

6.  Explain  and  illustrate  the  second  step. 

7.  Explain  and   illustrate  the  third  and   fourth  steps. 

8.  Make  a  circular  weave  from  the  2  and  2  basket  and 
cassimere  twills. 

9.  Make  four  different  circular  weaves  from  the  founda- 
tion weaves  used  in  Question  8. 

10.     How  are  spot  effects  produced? 


DESIGN  TEXTS. 


91 


11.  What  is  the  simplest  method  of  producing"  a  spot  effect? 

12.  Design  a  spot  effect  from  two  cassimere  twill  weaves. 

13.  Illustrate  the  sateen  method  of  producing  spot  effects 
by  the  following  designs:  eight-harness  spot  on  twenty-four 
threads  and  twenty-four  picks;  five-harness  spot  on  twenty 
threads  and  fifteen  picks;  seven-harness  spot  on  twenty-eight 
threads  and  twenty-eight  picks. 

TWILLING. 

Flushes.  Diagonal  twills  or  cords  that  run  obliquely  across 
the  cloth  may  vary  in  size  according  to  the  number  of  harnesses 
on  which  they  may  be  drawn  in  consecutive  order.  This  manner 
of  drawing  is  technically  termed  a  straight  over-draw.  Twills 
are  generally  named  according  to  the  number  of  threads  that  will 
complete  the  design.    This  is  technically  termed  a  repeat.    Thus, 

weave is  known  as  a  3-harness  twill,  filling  flush ;  the  weave 

2 

is  called  the  3-harness  twill,  warp  flush.     It  may  be  stated 

here  that  when  practicable,  the  smallest  number  of  harnesses 
should  be  raised  and  the  greatest  number  depressed  in  weaving 
special  makes  of  cloth.  In  this  manner  the  wear  and  tear  of  the 
yarn  is  much  reduced;  the  only  objection  to  this,  being  that  in  a 
warp  flush  face  weave,  the  surface  of  the  goods  is  woven  face 
down  and  cannot  be  seen  by  the  weaver. 

The  4-harness  twill,  filling  flush,  is  formed  by  the  filling 
passing  over  3  threads  of  warp  and  interweaving  at  the  fourth 
thread.  The  5-harness  twill,  warp  flush,  is  formed  by  the  fill- 
ing passing  over  only  1  thread  of  warp,  interweaving  at  the 
second  thread  and  passing  under  4  warp  threads.  The  5-harness 
twill,  filling  flush,  is  exactly  the  reverse  of  the  warp  flush. 
Fig.  156,  plain  weave;  Fig.  157,  3-harness  twill;  Fig.  158,  4-harness 
twill;  Fig.  159,  5-harness  twill;  Fig.  160,  6-harness  twill.  It  should 
be    understood    that  all  marks,   unless  otherwise  explained,    are 


HE 


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Fig.  156. 


Fig-.  157. 


Fig.  158. 


Fig.  159. 


Fig.  160. 


92  DESIGN  TEXTS. 


risers,  and  all  blanks  or  spaces  are  sinkers:  therefore,  in  Figs. 
157, 158,  159,  160,  the  fillings  predominate  on  the  face  and  are  called 
respectively  3,  4,  5  and  6-harness  filling-  flush  weaves.  If  the 
weaves  had  been  reversed,  that  is,  if  crosses  or  black  marks  had 
been  put  in  the  squares  which  are  now  blank,  the  weaves  would 
be  warp  flush  weaves.  We  now  understand  a  regular  twill  to  run 
in  small  diagonal  lines,  bars  or  cords,  at  an  angle  of  45  degrees 
or  obliquely  across  the  frabric.  It  may  be  a  filling  flush,  warp 
flush,  or  an  even-balanced  twill,  according  to  the  weave  used. 

When  the  consecutive  lifting  of  the  harnesses  or  scheme  of 
successive  interlacing  with  filling  is  changed,  so  as  to  raise  the 
harnesses  at  intervals  of  1,  2,  3  or  more  from  each  other,  the  twill 
or  diagonal  stripe  is  said  to  be  broken,  and  it  will  be  observed 
that  the  flushing  does  not  run  at  an  angle  of  45  degrees,  but  is 
broken  according  to  the  intervals  of  interlacing  and  the  disposition 
of  the  harnesses. 

We  must  now  consider  this  broken  effect  as  compared  with 
the  regular  disposition  of  the  harnesses  running  in  consecutive 
order.  When  the  harnesses  can  be  raised  regularly,  at  intervals 
of  2,  3  or  more  from  each  other,  the  weave  is  said  to  be  a  sateen 
of  a  perfect  order;  but  if  the  intervals  cannot  be  so  arranged,  or 
the  weave  will  not  admit  of  this  regular  intermission,  then  the 
weave  is  not  a  true  sateen,  although  we  find  many  of  these  imper- 
fect weaves  forming  the  groundwork  of  many  fabrics. 

The  smallest  number  of  threads  that  can  be  arranged  to 
make  a  true  sateen  is  the  5-harness  twill,  the  arrangement  of 
which  is  1,  3,  5,  2,  4.  Six  harnesses  do  not  admit  of  such  a  dis- 
position. The  7-harness  twill  is  perfect,  admitting  an  interval  of 
1  or  2  harnesses.  Eight  harnesses  is  the  lowest  number  used 
in  making  an  evenly  numbered  weave  that  can  be  transformed 
into  a  true  sateen.  By  experimenting  we  find  that  by  an  interval 
of  2  we  have  a  most  perfect  sateen.  The  9-harness  twill  is  per- 
fect, each  alternate  harness  lifting.  The  10-harness  twill  is  a 
good  sateen,  every  third  harness  being  raised.  The  same  order 
of  interweaving  is  shown  by  the  11-harness  twill,  which  makes  a 
perfect  sateen.  The  13-harness  weave  is  formed  by  raising  every 
third.  The  15  is  made  by  lifting  every  other  third  harness.  The 
1 6-harness  sateen  is  made  by  omitting  2  or  4  threads.  It  may 
be  remarked  here  that  all  twills  of  an  uneven  number,  except 
the  3-harness  twill,  will  produce  perfect  sateen  arrangements. 
With  the  even  numbers  imperfections  are  often  found.     The  pre- 


DESIGN  TEXTS. 


93 


ceding  remarks  apply  either  to  the  filling  or  warp  Hush  weaves, 
where  1  thread  is  either  up  or  down  and  the  remaining  number 
covered  either  by  filling  or  warp. 

Our  next  consideration  will  be  fancy  twills,  or  effects  that  are 
obtained  by  using  any  number  of  harnesses  in  any  fixed  weave. 
For  instance,  to  make  the  4-harness  twill,  1  up  and  3  down,  into 
another  variety  or  effect,  we  can  take  2  up  and  2  down.  This  is 
called  the  4-harness  cassimere  or  shalloon  twill.  With  a  larger 
twill  the  flushing  can  be  varied  by  interspersing  the  weave  with 
plain  texture,  as,  for  instance,  the  7-harness  changed  to  1  up  1 
down,  1  up  1  down,  2  up  and  1  down,  and  so  on. 


■  ■ 


Fig.  161.  Fig.  162.  Fiyr.  163.  Pig.  164 

Fancy  Twills.  Examples  are  here  given  (Figs.  101  lo  I7n> 
of  whatare  termed  fancy  twills,  and  it  will  be  seen  how  an  endless 
variety  of  patterns  may  be  obtained  from  them. 

Twills  that  run  obliquely  will  form  tin-  groundwork  for 
wave  effects,  either  in  the  direction  of  the  filling,  across  the  fabric, 
or  in  the  direction  of  the  warp,  that  is,  with  the  length  ot  the 
fabric.  Take,  for  example,  the  4-harness  twill,  filling  flush;  draw 
this  straight  over  on  4  harnesses  and  raise  the  harnesses  as  shown 
in  Fig.  171.  By  studying  this  wave  weave,  we  find  that  it  is  the 
common  45-degree  twill  for  4  picks  and  that  it  then  twills  to  the 
left,  thus:  1,  2,  3,  4,  3,  2,  which   makes  a  zigzag  or  wave  effect  in 

the  direction  of  the  warp.    If  we  use  the  4-harness  -  — -  twill  and 

draw  the  threads  through  the  harness,  1,  2,  3,  4,  3,  2   (see   Fig. 
172),  which  is  the  same  order  as  given  in  the  preceding  example, 


Fig.  165.  Fig.  166.  Fig-.  167.  Fig.  168. 

the  effect  or  result  in  the  fabric  is  a  zigzag  across  the  piece  or  in 
the  direction  of  the  filling. 


94 


DESIGN  TEXTS. 


Reverse  Twills.  In  all  the  regular  twills,  as  shown  in  Figs. 
157  to  160,  the  filling-  predominates  on  the  face  of  the  cloth,  and 
the  warp  on  the  back  of  the  cloth.  Take  the  5-harness  twill  for 
an  example;  if  the  warp  is  of  one  color  and  the  filling-  another,  as 
there  is  1  thread  up  and  4  threads  down,  it  follows  that  four-fifths 
of  the  filling  will  be  on  the  face  and  one-fifth  on  the  back,  thus 
changing  the  appearance  of  the  filling  from  one  side  of  the  fabric 
to  the  other.  This  is  called  re- 
versing the  twill.  It  is  very  ex- 
tensively applied  in  different 
branches  of  weaving,  particularly 
in  the  cotton  and  linen  trades. 
We  will  take  for  example  the 
reversing  of  the  4-harness  twill,  Fig.  169.  Fig.no. 

and  make  a  stripe  of  12  threads  warp  flush  and  12  threads  filling 
flush.  In  this  example  (Fig.  173)  we  notice  that  it  takes  4  extra 
harnesses,  that  is,  4-harness  for  the  filling  flush  and  4-harness 
for  the  warp  flush  weaves.  Patterns  of  this  description  may  be 
extended  to  any  width  of  stripe,  as  they  are  formed  and  regulated 
entirely  by  the  quantity  of  warp  drawn  on  each  set  of  harnesses. 
These  examples  will  be  sufficient  to  show  the  nature  of  reversed 
twill  stripes,  the  varieties  of  which  may  be  increased  at  pleasure 
by  means  of  additional  harnesses,  and  by  varying  the  size  of  one 
or  both  stripes. 

The  next  variation 
of  the  reversed  twill  is 
to  form  on  the  same 
stripe,  the  warp  flush 
and  filling  flush  effect 
alternately.  (Fig.  174.) 
We  find  that  there  are  Wfg.vn. 

12  picks  filling  flush  weave  and  12  picks  warp  flush  weave.  We 
will  now  go  a  little  farther  with  these  examples,  combining  the 
two  systems  so  as  to  make  a  checker  or  dice  board  effect.  In 
making  designs  of  this  character,  attention  should  be  drawn  to 

the  divisions  of  the  two 
weaves.  Where  they 
unite,  the  line  must  be 
distinctly  defined,  that 
is,  to  make  them  unite 
in  a  perfect  cut.  This 
will  be  better  under- 
tood  by  referring  to  Fig.  174,  at  the  extreme  sides  of  which,  top 


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mm 


Fig.  172. 


DESIGN  TEXTS. 


95 


Fig.  173. 


and  bottom,  it  will  be  found  that  the  raising-  marks  of  one  division 
fall  exactly  on  the  sinking-  marks  of  the  other  compartment. 
This  figure  represents  a  perfect  cut. 


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DIAPER  WORK  AND  POINT  DRAWS. 

Damask.  From  what  has  been  said  in  regard  to  fancy  twills, 
and  from  examples  that  have  been  worked  out,  it  will  not  be 
difficult  to  understand  the  drafting  of  the  cloth  known  as  Damask. 
Instead  of  straight-over  drafts,  damask  designs  are  usually  woven 
by  means  of  what  is  termed  a  diamond  draft;  that  is,  a  draft  that 
runs  from  the  front  harness  to  the  back  harness  and  then  returns 
to  the  front  in  the  opposite  order,  thus  forming  a  zigzag  figure  on 
the  harness.  Sometimes  there  are  patterns  of  a  more  complex 
character  woven  on  this  system  of  drafting.  This  will  be  ex- 
plained under  the  head  of  double,  triple  and  alternate  diamond 
drafts. 

The  length  or  number  of  picks  in  the  repeat  of  the  design  is 
worked  out  on  the  same  principle  as  the  draft  for  the  warp.     (See 


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96 


DESIGN  TEXTS. 


Fig.  175.)  Whatever  variety,  therefore,  is  adopted  for  the 
groundwork  or  plan,  according-  to  the  foregoing-  explanations,  the 
result  of  the  extended  pattern  will  be  nearly  double  the  number  of 
ends  in  the  warp.  The  additional  threads  and  formation  of  twill 
will  be  in  direct  opposition  to  the  original  ground  plan.  As  the 
tilling  is  also  carried  out  on  the  same  principle  as  the  warp,  the 
design  is  nearly  doubled  by  the  picks,  the  resulting  design  or  twill 
being  run  in  the  opposite  direction.  Thus  a  square  or  diamond 
figure  is  commonly  produced.  It  must  be  particularly  noticed 
that  there  is  only  one  thread  drawn  on  the  first  and  last  harness, 
and  that  the  filling  returns  on  the  same  scheme,  so  the  whole 
design  will  be  nearly  four  times  the  original  figure. 


Fig-.  176. 


Fig.  177. 


The  smaller  weaves  of  this  kind  produce  only  a  limited 
number  of  figures,  generally  a  small  diamond  with  a  dot  in  the 
center,  which  gives  the  resemblance  of  an  eye;  hence  this  variety 
of  design  is  called  a  bird's-eye.  But  when  we  use  8  harnesses 
or  more,  they  admit  of  considerable  diversity  in  flushing,  twilling 
and  the  addition  of  plain  texture,  thus  deviating  from  the  formal 


■ 


Fig-.  178.      DOUBLE   DRAFT. 


bird's-eye.     The  design  now  assumes  the  appearance  of  damask- 
work. 

Double   Draft.     These  examples  show  what  a  great  variety  of 
figures  can  be   woven  on  the  damask  work  principle,  especially 


DESIGN  TEXTS. 


97 


those  of  a  large  ground  or  original  figure.  All  of  these  figures 
are  produced  by  the  extension  of  the  diamond  draft.  As  the 
resources  of  fancy  weaving  are  inexhaustible,  various  other 
changes  can  be  effected  by  merely  diversifying  the  order  or  suc- 
cession of  the  draft  independently  of  the  position  of  the  filling. 
As  every  extension  of  the  draft  in  this  manner  enlarges  the 
figure  in  a  duplicate  proportion,  that  is,  as  the  square  of  the 
number  of  threads  in  one  set  of  the  draft,  such  patterns,  when 
the  harnesses  are  numerous,  will  occupy  a  considerable  space  on 
design  paper.  In  all  double  drafts  it  should  be  understood  that 
the  filling  or  picks  are  extended  in  the  same  order  as  the  warp 
draft. 


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DOUBLE   DRAFT. 


Fig.  179. 

The  double  draft,  Figs.  178  and  179,  with  any  system  that 
may  be  adopted,  always  produces  two  square  or  diamond  effects. 
These  are  formed  one  within  the  other,  and  are  again  surrounded 
by  others  of  the  same  character. 

Triple  Drafts.  Fig.  180.  A  triple  draft  enlarges  the  dimen- 
sions of  these  patterns  still  further,  producing  three  similar 
designs,  one  within  the  other.  These  figures  are  generally 
termed  concentric  designs.  From  this  example  it  will  appear 
that  any  number  of  concentric  figures  may  be  formed  by  repeat- 
ing the  draft  any  number  of  times  straight  over  the  harnesses  in 
one  direction,  and  by  returning  in  the  opposite  direction  an  equal 
number  of  times. 


98 


DESIGN  TEXTS. 


II 


Fig.  K 


TRIPLK    DRAFT. 


Alternate  Drafts.  Fig-.  181.  Another  method  of  diversifying 
the  drafts  of  lined  work  patterns  is  by  dividing  the  harnesses  into 
two  sets.  Take  10  harnesses,  for  example,  which,  when  divided, 
should  form  2  sets  of  5  each.  On  either  set  we  can  make  a  diamond 
point,  double  or  triple  draft.  This  arrangement  throws  the  group 
of  small  figures  produced  by  each  set  of  harnesses  into  alternate 
squares,  somewhat  resembling  the  draft-board  pattern,  each 
square  again  being  composed  of  diaper   or  damask  work.     The 


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Fig.  181.       ALTERNATE   DRAFT. 

following  draft  is  an  explanation  in  itself.  To  find  the  number 
of  harnesses  required  for  any  lined  work  design,  either  from  the 
fabric  or  design  paper,  count  the  threads  from  the  center  of  one 
figure  to  the  center  of  the  surrounding  figure.  This  will  give  the 
number  of  harnesses.  If  a  square  be  formed  of  which  this  is  a 
diagonal,  and  is  repeated  four  times,  but  inverted  so  that  any  one 
corner  of  the  design  may  be  a  common  center,  and  allowing  only 
one  thread  for  each  of  the  points,  both  by  the  warp  and  filling  it 
will  give  one  complete  set  of  the  design. 

Damask  work  designs  are  used  to  considerable  advantage  in 
the  linen  trade,  and  also  to  some  extent  in  cottons.  This  class  of 
work  makes  good  designs  for  the  shawl  trade,  provided  the  warp 
is  of  one  color  and  the  filling  of  some  darker  shade  of  another 
color. 


DESIGN  TEXTS. 


99 


EXERCISES   ON    DAHASK    PATTERNS. 

1.     Form  a  check  from   the  accompanying-   damask  stripes 
a,  b,  c,  d,  e,f. 


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2.  Make  damask  stripe  designs  on  48  ends  from  weaves  ^ 
and  //. 

3.  Make  check  designs  from  three  stripes   (Question  2). 

4.  Make  two  original  damask  stripe  and  corresponding  check- 


designs. 


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100 


DESIGN  TEXTS. 


EXERCISES    FOR   PRACTICE. 

1.  Work  out   the   designs    from    the   following-  drafts  and 
chain   plans. 

2.  Work  out  the  designs  obtained  by  using-  chain  plan  M 
with   drafts  G,   H,   K,   L. 

3.  As  No.  2,  but  with  chain  plan  N. 


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DESIGN  TEXTS. 


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DESIGN  TEXTS. 


103 


EXERCISES    IN    DRAFTING. 

Reduce  each  of  the  following-  designs  to  weave  on  the  fewest 
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104 


DESIGN  TEXTS. 


EXERCISES  FOR  PRACTICE. 

Draft  each  of  the  following-  designs  on  fewest  possible  shafts 
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DESIGN  TEXTS. 


105 


EXERCISES    FOR    PRACTICE. 

Make  draft  and  chain  plan  for  each  of  the  following  designs, 
giving-  good  workable  drafts. 


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DESIGN  TEXTS. 


EXERCISES    FOR    PRACTICE. 

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weave  in   the  same  draft. 

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3.  Run  out  the  accompanying  design  E  until  complete, 
then  draft  on  28  shafts  and  give  chain  plan. 


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DESIGN'TEXTS. 


107 


4.  Give  draft  and  chain  plan  to  weave  design 
F  on  the  fewest  possible  shafts;  also  give  chain 
plan  to  weave  it  with  draft  G. 

5.  Give  two  original  designs  and  chain  plans 
to  weave  with  draft  U. 

6.  Give  chain  plan  to  weave  design   II    with 

draft  G. 


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108  DESIGN  TEXTS. 


REEDS  AND  SETT. 

This  is  a  section  of  the  designing-  department  in  which  great 
diversity  of  opinion  prevails  as  to  the  manner  of  application,  and 
also  in  what  is  represented  by  the  terms  reed  and  sett.  Reeds 
are  a  series  of  narrow  strips  of  metal  between  which  the  threads 
of  the  warp  pass  in  the  loom,  the  purpose  of  the  reed  is  twofold  — 
to  keep  the  threads  evenly  divided  and  to  strike  the  filling-  at  varied 
intervals  and  places  to  beat  it  up  into  the  position  it  has  to  take  in 
the  cloth.  The  derivation  of  the  name  is  from  the  material  used 
many  years  ago  to  form  the  narrow  strips  which  divide  the  spaces, 
splits,  split  reed,  or  dent.  The  origin  of  the  word  split,  for  dent, 
is  also  explained  by  this  allusion  to  the  original  material  used  for 
reed-making 

The  coarser  the  reed,  to  a  certain  extent,  the  easier  the  picks 
go  into  the  fabric.  The  finer  the  reed  the  smoother  the  goods, 
and  with  a  perfect  reed  there  will  be  fewer  reed  marks. 

Reeds  may  be  unevenly  set,  the  wires  may  not  stand  parallel 
with  the  warp,  the  wire  may  be  too  thick,  thin,  wide  or  narrow  for 
the  work  on  hand;  indeed,  a  perfect  reed  is  not  so  easily  found  as 
needed.  The  threads  in  each  dent  should  be  such  as  to  be  the 
same  in  each  repeat  of  the  pattern. 

Threads  running  over  each  other  may  often  be  remedied  by  a 
different  number  of  threads  per  dent,  or  by  taking  different 
threads  of  the  pattern  in  the  same  dent.  Some  patterns  look  best 
with  all  the  threads  of  the  same  texture  together  in  the  same  dents; 
others  are  improved  by  a  different    division. 

Reeds  are  damaged  more  by  careless  handling  and  abuse  than 
by  actual  wear  and  tear  necessary.  Flat  steel  wire  is  now  con- 
sidered the  best  material  for  reeds,  brass  and  iron  are  too  soft, 
and  once  bent  do  not  spring   back  into  shape  or  place. 

The  term  sett  denotes  the  number  of  threads  of  warp  con- 
tained in  a  certain  space,  while  the  reed  marks  certain  divisions 
of  those  threads  in  that  space.  In  some  districts  the  reed  is  de- 
noted by  so  many  dents  on  so  many  inches,  as  example:  1050 
dents  on  35  inches.  In  other  districts  the  reed  is  known  by  dents 
on  the  %  yard  or  nine  inches,  as  example:  270  reed,  which  means 
270  dents  on  9  inches.  The  best  plan  for  denoting  the  reed  is  to 
take  one  inch  as  the  space  for  measurement  and  the  number  of 
dents  contained  in  that  space  forms  the  base  of  the  reed.  Ex- 
ample: No.  10  reed  requires  10  dents,  splits  or  spaces  in  one  inch. 


DESIGN  TEXTS.  109 


When  the  threads  per  inch  are  of  an  equal  number  the  reed 
for  the  division  is  easily  found,  that  is  for  ordinary  requirements. 
For  example:  say  40  threads  per  inch,  then  a  20  reed  two  in  a  dent, 
or  a  ten  reed  four  in  a  dent,  may  be  employed;  that  is,  a  reed  hav- 
ing- 20  dents  or  10  dents  per  inch,  and  each  dent  dividing-  two  or 
four  threads  respectively.  By  this  method  the  number  of  warp 
threads  for  the  whole  chain  or  warp  is  easily  ascertained. 

Supposing  that  the  warp  is  required  70  inches  wide  at  40 
threads  per  inch,  then  70x40  =  2800  threads  in  the  warp  are  given, 
and  so  with  any  other  number  of  reed.  The  preferable  plan  of 
obtaining  the  reed  under  any  circumstances  is  to  divide  the  total 
number  of  threads  intended  for  the  warp  by  the  number  of  inches 
it  is  to  occupy  in  the  reed,  which  gives  the  number  of  threads  per 
inch.  This  does  not,  however,  dispense  with  the  fractional  part 
of  a  thread  for  one  inch  in  all  cases,  and  the  necessity  for  a 
fractional  reed  to  meet  it,  but  it  has  the  merit  of  simplicity,  as 
assisting  in  the  matter  of  calculation.  Suppose  we  require  42 
threads  per  inch  and  had  been  using  a  21  reed  two  in  a  dent,  but 
found  the  reed  too  fine,  what  reed  could  we  use  to  put  four 
threads  in  a  dent — 42  -j-  4  =  10j^  reed?  The  only  way  to  obtain 
an  even  number  of  threads  per  inch  is  to  construct  the  design 
accordingly,  and  apportion  the  number  of  threads  in  the  warp  so 
that  their  division  by  the  number  of  inches  occupied  in  the  reed 
will  give  it,  whether  2,  3,  4  or  more  threads  are  intended  for  each 
division  of  the  reed. 

As  a  rule  two  threads  are  reckoned  for  each  division,  but  the 
requirements  of  design  and  the  construction  of  cloth  are  so 
various  in  the  sizes  and  counts  of  yarn,  and  the  number  of  threads 
per  inch  employed  in  the  warp,  that  the  number  of  dents  per  inch 
of  the  reed  is  dependent  upon  it.  But  the  number  of  threads  in 
the  division  of  the  reed  is  not  always  uniform — that  is,  not  always 
the  same  in  each  reed  throughout  the  whole  width  of  the  warp. 
That  depends  upon  the  pattern  to  be  woven.  For  example,  in  the 
production  of  a  stripe,  while  two  threads  in  each  dent  may  be 
required,  say  for  three-quarters  of  an  inch  space,  the  succeeding 
dents  may  require  3,  4,  5,  or  6  threads  in  them,  and  then  repeat 
with  the  two  threads,  and  so  on  throughout  the  width  of  the  reed. 
This  will  show  that  no  hard-and-fast  rule  can  be  laid  down  which 
will  give  universal  direction — or  suit  all  the  cases  which  may 
arise  according  to  the  caprice  of  design. 


110  DESIGN  TEXTS. 


Given  the  number  of  threads  which  constitutes  the  warp,  and 
the  number  of  inches  in  the  width  those  threads  are  to  be  dis- 
tributed over,  measured  on  the  reed  with  the  number  of  threads 
for  each  dent  or  division  of  the  reed,  a  foundation  is  obtained  upon 
which  the  whole  matter  rests.  The  shrinkage  of  the  goods  in 
weaving-  must  always  be  borne  in  mind,  and  included  in  estimates, 
allowances  for  take-up  of  yarn  in  weaving  must  be  taken  into 
account.  Arbitrary  rules  in  relation  to  these  allowances  are  of 
little  use,  there  is  much  variation  in  different  mills  and  under 
different  circumstances.  The  convenience  of  minute  records  on 
such  subjects  is  apparent. 

Reed  Calculations. 

Example  No.  1. — Find  the  width.     The  threads  in  the  warp 
and  threads  per  inch  being  known,  find  the  width  by  dividing  the 
total  number  of  threads  in  the  warp  by  the  threads  per  inch. 
2400  x  50  =  48  inches  wide. 

Example  No.  2. — Find  the  reed  and  threads  per  inch.  The 
threads  in  the  warp  and  width  being  known,  find  the  threads  per 
inch  or  reed  one  thread  in  a  dent  by  dividing  the  threads  in  warp 
by  the  width  in  inches. 

2400  H—  48  =  50  threads  per  inch.     50  -^  5  in  dent  =  10  reed. 

50  -=-  4  in  dent  =  12^2  reed.  50  -f-  2  in  dent  =  25  reed. 

Example  No.  3. — Find  the  number  of  threads  in  warp.  The 
threads  per  inch  or  reed  being  known,  also  the  width  in  reed,  find 
the  number  of  threads  in  warp  by  multiplying  the  threads  per 
inch  by  the  width  in  reed.     50  x  48  =  2400  threads. 

Example  No.  4. — Irregular  reeding.  When  the  threads  in  a 
dent  are  irregular,  find  the  average  number  of  threads  per  dent 
and  inch,  by  dividing  the  number  of  threads  in  a  pattern  by  the 
dents  occupied  by  the  pattern  and  multiplying  by  the  reed. 

What  are  the  threads  per  inch  when  the  warp  is  reeded  as 
follows: — 1  dent  2  threads,  1  dent  4  threads,  1  dent  4  threads,  1 
dent  2  threads,  and  1  dent  3  threads,  15  threads  in  5  dents?     Use 
a  15  dent  reed. 
15 -r-  5=3  threads  per  dent  average.      15  dent  x  3=  45  threads 

per  inch. 


DESIGN  TEXTS.  HI 


LECTURE  No.   I. 

COLOR    AS    APPLIED    TO    TEXTURE. 
Primary,  Secondary,  and  Tertiary. 

In  many  fabrics  the  colors  are  quite  as  important  as  the 
texture.  The  designer  should  therefore  acquire  a  thorough 
knowledge  of  the  laws  which  govern  color  harmony.  This  can  be 
done  only  when  the  nature  of  colors  is  thoroughly  understood. 

The  science  of  color  teaches  the  nature  and  causes  of  colors, 
their  distinctions,  their  relations  to  each  other,  their  classifica- 
tion, the  mental  effects  that  attend  them,  and  the  causes  and  laws 
of  harmony.  It  also  includes  the  modifications  of  colors  arising 
from  varying-  sensibility  of  the  eye,  and  the  peculiarities  of  color 
vision  which  are  found  to  exist  in  different  individuals. 

The  science  of  color  is  very  extensive,  and  the  space  at  my 
disposal  will  only  permit  me  to  treat  of  it  briefly. 

The  harmony  of  colors,  the  influence  of  one  color  over 
another  when  placed  in  close  proximity,  are  subjects  which  can 
only  be  understood  after  much  study. 

There  are  few  objects  to  which  color  may  not  be  applied,  and 
many  articles  which  are  now  colorless  might  be  colored  with 
advantage. 

Our  reasons  for  applying  color  to  objects  are  twofold,  which 
emphasize  its  true  use. 

First,  color  properly  applied  lends  to  objects  a  new  charm,  a 
charm  they  would  not  possess  without  it;  and,  secondly,  color 
assists  in  the  separation  of  objects,  or  parts  of  objects,  and  thus 
making  them  more  distinctive  and  giving  assistance  to  their  form. 

While  it  is  true  color  bestows  on  objects  a  charm  such  as  they 
would  not  have  in  its  absence,  and  which  in  the  hands  of  men  of 
experience  and  knowledge  make  objects  lovable,  it  must  be 
remembered  that  the  mere  application  of  color  will  not  do  this. 
Color,  indeed,  may  be  so  applied  to  objects  as  to  render  them 
infinitely  more  ugly  than  they  were  without  it.  Knowledge, 
when  correctly  applied,  will  enable  us  to  transmute  base  materials 
into  works  of  marvelous  beauty,  ingenuity,  and  very  valuable. 

Knowledge  of  the  laws  of  art,  then,  is  the  true  philosopher's 
stone,  for  we  may  also  sav  when  it  is  possessed  by  the  artist  he  is 
enabled  to  transmute  the  baser  metals  into  works  of  art,  or  we 
may  say  gold. 


112  DESIGN  TEXTS. 


But  a  little  knowledge  will  not  do  this.  In  order  that  we  pro- 
duce true  beauty  we  require  much  knowledge,  and  this  can  only 
be  obtained  by  diligence,  and  surely  the  end  to  be  gained  is  worth 
plodding  and  toiling  for.  The  Second  object  of  color  is  that  of 
assisting  in  the  separation  of  form.  If  objects  are  placed  near  to 
one  another,  and  are  all  of  the  same  color,  the  beholder  will  have 
more  difficulty  in  seeing  the  boundaries  or  terminations  of  each 
than  he  would  were  they  variously  colored,  he  would  have  to  come 
near  to  them  in  order  to  see  their  limits.  Thus  color  assists  in 
the  separation  of  form. 

This  quality  which  color  has  of  separating  forms  is  often  lost 
sight  of,  causing  considerable  trouble  in  textile  manufacture. 
The  designer  must  not  lose  sight  of  the  fact  that  color  is  the 
means  by  which  we  render  form  apparent.  Colors,  when  placed 
together,  can  only  please  and  satisfy  the  educated  when  combined 
harmoniously,  or  according  to  the  laws  of  harmony.  What,  then, 
are  the  laws  which  govern  the  arrangement  of  color,  and  how  are 
they  applied? 

I  shall  endeavor  to  answer  these  questions  by  making  a  series 
of  statements  in  axiomatic  form,  and  then  enlarge  upon  them. 

1.  Regarded  from  an  art  point  of  view  there  are  but  three 
colors — blue,  red,  and  yellow. 

2.  Blue,  red,  and  yellow  have  been  termed  primary  colors, 
as  they  cannot  be  formed  by  the  admixture  of  any  other  colors. 

3.  All  colors  other  than  blue,  red,  and  yellow  result  from  the 
admixture  of  the  primary  colors. 

4.  By  the  admixture  of  blue  and  red,  violet  is  formed. 

,,     ,,  ,,  ,,   red  and  yellow,  orange. 

,,     ,,  ,,  ,,  yellow  and  blue,  green. 

5.  Colors  resulting  from  the  admixture  of  two  primary 
colors  are  termed  secondary,  hence  violet,  orange  and  green  are 
secondary  colors. 

6.  By  the  admixture  of  two  secondary  colors  a  tertiary  color 
is  formed.  Thus  violet  and  orange  produce  russet,  the  red 
tertiary;  green  and  violet  produce  olive,  the  blue  tertiary.  Russet, 
citrine,  and  olive  arc  the  three  tertiary  colors. 

7.  When  a  light  color  is  juxtaposed  to  a  dark  color  the  light 
color  appears  redder  than  it  actually  is,  and  the  green  greener, 
and  when  blue  and  black  are  juxtaposed  the  blue  manifests  but 
little  alteration,  while  the  black  assumes  an  orange  tint  or 
becomes  "rusty." 


DESIGN  TKXTS.  113 


9.  No  one  color  can  be  viewed  by  the  eye  without  another 
being- created.  Thus,  if  red  is  viewed  the  eye  creates  for  itself 
green,  and  this  green  is  cast  upon  whatever  is  near.  If  it  is 
green  that  is  seen,  red  is  in  like  manner  created  and  cast  upon 
adjacent  objects;  that  is,  if  red  and  green  are  juxtaposed  each 
creates  the  other  in  the  eye,  and  the  red  created  by  the  green  is 
cast  upon  the  red,  and  the  green  created  by  the  red  is  cast  upon 
the  green.  This  explains  the  reason  why  the  red  and  green 
appear  brighter  by  being  juxtaposed.  The  eye  also  demands  the 
presence  of  the  three  primary  colors,  either  in  their  purity  or  in 
combination,  and  if  these  are  not  present,  whatever  is  deficient 
will  be  created  in  the  eye,  and  this  induced  color  will  be  cast  upon 
whatever  is  near.  Thus,  when  we  view  blue,  orange,  its  compli- 
mentary color,  which  is  a  mixture  of  red  and  yellow,  is  created  in 
the  eye,  and  this  orange  color  is  cast  upon  whatever  is  near.  If 
black  is  in  juxtaposition  with  the  blue,  this  color  (orange)  is  cast 
upon  it,  and  gives  to  it  an  orange  tint,  thus  causing  it  to  look 
"  rusty." 

10.  In  like  manner,  if  we  look  upon  red,  green  is  formed  in 
the  eye,  and  is  cast  upon  adjacent  colors;  or,  if  we  look  upon 
yellow,  violet  is  formed. 

11.  Harmony  results  from  an  agreeable  contrast. 

12.  Colors  which  perfectly  harmonize  improve  one  another, 
and  are  seen  in  perfection. 

13.  In  order  to  perfect  harmony  the  three  colors  are  neces- 
sary, either  in  their  purity  or  in  combination. 

14.  Red  and  green  combine  to  yield  a  harmony.  Red  is  a 
primary  color,  and  green}  which  is  a  secondary  color,  consists  of 
yellow  and  blue,  the  other  two  primary  colors.  Blue  and  orange 
also  produce  a  harmony,  the  red  and  yellow  primary  colors  being 
present,  and  yellow  and  violet  produce  a  harmony,  the  blue  and 
red  primary  colors  being  present. 

15.  The  primary  colors  in  perfect  harmony  produce  exact 
harmonies  in  the  proportions  of  8  parts  of  blue,  5  of  red,  and  3 
of  yellow.  The  secondary  colors  harmonize  in  the  proportions 
of  13  of'  violet,  11  of  green,  and  8  of  orange.  The  tertiary  colors 
harmonize  in  the  proportions  of  olive  24,  russet  21,  and  citrine  19. 

16.  There  are,  however,  subtleties  of  harmony  which  are 
difficult  to  understand. 

17.  The  rarest  harmonies  frequently  lie  close  on  the  verge 
of  discord. 


114  DESIGN  TEXTS. 


18.  Harmony  of  color  is  in  many  respects  analogous  to 
harmony  of  musical  sounds. 

19.  Qualities  of  colors.  Blue  is  a  cold  color,  and  appears  to 
recede  from  the  eye. 

20.  Red  is  a  warm  color,  is  exciting-,  and  remains  stationary 
as  to  distance. 

21.  Yellow  is  the  color  most  nearly  allied  to  light.  It 
appears  to  advance  toward  the  spectator. 

22.  At  twilight  blue  appears  much  lighter  than  it  is,  red 
much  darker,  and  yellow  slightly  darker.  By  ordinary  gaslight 
blue  becomes  darker,  red  brighter,  and  yellow  lighter.  By  this 
artificial  light  a  pure  yellow  appears  lighter  than  white,  when 
viewed  in  contrast  with  certain  other  colors.  By  electric  light 
assume  twilight. 

23.  By  certain  combinations  color  may  make  gladness  or 
depression,  and  in  certain  combinations  may  affect  the  mind  as 
music  does. 

24.  Teachings  of  experience.  When  a  color  is  placed  on  a 
gold  ground  it  should  be  outlined  with  a  darker  shade  of  its  own 
color. 

25.  When  a  gold  ornament  falls  on  a  colored  ground  it 
should  be  outlined  with  black. 

26.  When  an  ornament  falls  on  a  ground  which  is  in  direct 
harmony  with  it,  it  must  be  outlined  with  a  lighter  tint  of  its  own 
color.  Thus,  when  a  red  ornament  falls  on  a  green  ground  it 
should  be  outlined  with  lighter  red. 

27.  When  the  ornament  and  the  ground  are  in  two  tints  of 
the  same  color,  if  the  ornament  is  darker  than  the  ground  it  will 
require  outlining  with  a  still  darker  tint  of  the  same  color,  but  it 
lighter  than  the  ground  no  outline  will  be  required. 

28.  The  surest  and  readiest  method  of  acquiring  a  practical 
knowledge  of  colors  and  their  effects  in  textile  fabrics  is  to 
analyze  a  large  collection  of  samples. 

Fashion  controls  the  designer  to  a  great  extent,  and  fashion 
moves  in  cycles. 

Exhaustive  collections  of  the  most  fashionable  colors  and 
combinations  of  each  season,  with  a  proper  record  of  particulars, 
will  not  only  add  to  one's  stock  of  knowledge,  but  anyone  who  is 
at  all  observant  will  after  a  while  be  enabled  to  anticipate  coming 
demands  of  fashions  with  considerable  accuracy. 

The  value  of  this  ability  needs  no  comments.  Every  designer 
has  suffered  more  or  less  from  a  lack  of  it,  both  in  himself  and  in 
those  who  assume  the  control  of  the  patterns  in  the  market. 


DESIGN  TEXTS.  115 


LECTURE   No.  2. 

COLOR  OF   THE   SPECTRUM. 

Treated  scientifically,  the  six  colors  of  the  spectrum  are 
taken  as  colors,  and  all  variations  in  tints,  shades  and  hues  are 
considered  modifications  of  these  six  colors:  Red,  Orange,  Yel- 
low, Green,  Blue,  Violet. 

These  are  referred  to  by  different  writers  as  standard  spec- 
tral, positive,  pure,  full  and  saturated  colors.  The  name  normal 
is  generally  accepted  as  it  expresses  the  natural  condition  of 
color  when  affected  by  light. 

A  standard  color,  or  a  positive  may  be  a  brown,  straw,  or 
even  a  gray,  which  is  composed  of  black  and  white  or  any  other 
color  which  is  accepted  as  the  typical  color  of  a  series. 

Tone  covers  the  entire  scale  of  color,  from  the  darkest  shade 
to  the  lightest  tint.  So  in  a  perfect  scale  of  tones,  the  grading 
from  one  shade  or  from  one  tint  to  another  would  be  so  slight 
as  to  be  almost  imperceptible,  and  would  end  in  white  in  one 
direction  and  in  black  in  the  other. 

Tones  are  produced  by  adding  white  or  black  to  the  normal 
color. 

Tint  is  a  tone  of  a  color  lighter  than  the  normal.  A  tint  is 
produced  by  adding  white  to  the  normal  color. 

Shade  is  a  tone  of  a  color  darker  than  the  normal.  A  shade 
is  produced  by  adding  black  to  the  normal  color. 

Tints  are  lighter,  shades  are  darker  than  the  normal  color. 
Tints  and  shades  constitute  the  whole  range  of  tones. 

Hue.  This  term  is  applied  to  a  color  when  the  normal  color 
has  been  modified  or  changed  by  the  addition  of  another  normal 
color.  Thus,  if  a  small  portion  of  blue  is  added  to  red  or  mixed 
with  it,  we  should  have  a  blue  red,  which  is  a  hue  of  red;  if  a 
little  green  is  added  to  blue,  the  result  would  be  a  green  blue. 
The  last  name  indicates  the  normal  color  in  the  scale  and  the 
first  name  is  the  color  added. 

Broken  colors  are  the  normal  colors  dulled  more  or  less  by 
the  addition  of  a  gray. 

Value  is  the  luminous  intensity  of  a  color  tone  or  hue,  as  it 
stands  in  relation  to  other  colors,  tones  or  hues. 

Unit  of  color.  In  colored  work  the  basis  of  comparison  is 
generally  white.  (Many  artists,  when  sketching,  put  a  slip  of 
white  paper  upon  some  object  in  the  foreground,  as  a  basis  of 


116  DESIGN  TEXTS. 

comparison  in  determining-  the  tones  and  hues  of  the  various 
colors  in  the  scene  they  may  be  painting-.)  In  textile  designing-, 
the  basis  of  comparison  is  a  bleached  white. 

Keeping  the  values  of  the  composition,  means  having  a  har- 
monious balance  of  tone  or  intensity  of  the  different  colors  used, 
so  that  the  combined  effect  will  not  be  injured  by  an  excess  of 
any  particular  color.  Take,  for  example,  a  light  blue  and  a  pink 
will  combine  and  harmonize,  as  far  as  values  are  concerned. 
Pink  is  a  red  tint,  but  an  equal  quantity  of  light  blue  and  a 
normal  red  would  not  harmonize  in  value  because  the  greater 
intensity  of  the  red  would  overpower  the  light  blue.  When 
the  intensities  differ,  the  quantities  must  also  differ. 

It  is  very  seldom  that  equal  quantities  of  two  or  more  colors 
can  be  used  in  a  combination,  when  we  desire  to  produce  a  har- 
monious effect. 

Potentiality  is  the  power  of  a  tone,  hue  or  color  to  affect 
other  tones,  hues  or  colors,  when  associated  with  them.  The 
potentiality  or  combining  influence  of  the  six  normal  colors,  is 
yellow,  orange,  red,  green,  blue,  violet. 

Scaling  is  the  arrangement  of  colors  in  the  order  of  their 
intensity.  Scaling  may  be  by  tones,  hues  and  colors,  or  by  these 
combined.  The  scale  of  the  normal  colors  consists  of  their 
regular  spectrum  arrangement:  Red,  orange,  yellow,  green, 
blue,  violet.  A  scale  of  tones  would  be,  lighter  blue,  light  blue, 
blue,  dark  blue,  and  darker  blue. 

The  term  tone  covers  all  the  variations  of  a  color  that  can 
be  produced  by  adding  black  or  white  to  the  normal  color,  but 
only  one  of  these  may  be  added,  otherwise  it  becomes  a  broken 
color. 

A  scale  of  hues  consists  of  a  normal  color  and  its  hues, 
violet  red,  red,  orange  red.     This  is  called  scale  of  hues  of  red. 

Luminous  colors  are  those  that  reflect  light  in  large  quan- 
tities. These  are  yellow,  orange,  red  and  green.  Yellow  is  the 
most  luminous  of  the  colors. 

Warm  colors.  Red,  orange  and  yellow,  and  the  hues  in 
which  they  predominate,  are  called  warm  colors.  Orange  is 
the  warmest  of  these  colors. 

Green,  blue,  and  pale  violet,  and  the  hues  in  which  they 
predominate,  are  called  cool  colors. 


DESIGN  TEXTS.  117 


LECTURE  No.  3. 

NEUTRAL    COLORS. 

The  effect  of  these  tints  and  colors  is  most  important. 
Suppose  we  have  alternate  stripes  of  red  and  green,  or  if  we 
have  red  figures  on  a  green  ground,  or  vice  versa,  the  eye  could 
not  rest  long  upon  them  without  experiencing  an  unpleasant 
sensation;  the  two  colors  would  begin  to  swim  (blur  into  each 
other,  as  it  were,)  and  the  longer  the  eye  rests  upon  them  the 
stronger  and  more  unpleasant  will  this  blurring  sensation 
become,  but  if  the  two  colors  be  separated  by  black  or  white, 
or  some  tertiary  or  neutral  oolor,  then  this  blurring  sensation 
will  be  entirely  prevented,  and  yet  perfect  harmony  will  result. 

In  the  same  manner,  if  blue  and  orange  be  laid  side  by  side, 
the  blurring  sensation  will  result,  but  it  may  again  be  pre- 
vented by  the  introduction  of  neutral  colors.  If  violet  and  yellow 
are  placed  together  the  effect  is  not  quite  so  unpleasant,  because 
the  two  colors,  although  complimentary  colors,  are  more  nearly 
allied  to  darkness  and  light  respectively. 

Yet  even  in  this  case  the  effect  is  much  improved  by  the 
presence  of  tertiary  or  neutral  colors.  Therefore,  at  all  times, 
colors  which  are  complimentary  to  each  other,  should  either  be 
present  in  subdued  form  or  separated  from  each  other  by  the 
presence  of  a  neutral  color. 

In  addition  to  this  quality  of  modifying  the  effect  of  com- 
plimentary colors,  neutral  colors  also  possess  the  property  of 
modifying  the  effect  upon  other  colors  possessing  the  same 
common  element.  As  has  been  shown,  colors  placed  side  by 
side  have  the  effect  of  detracting  from  each  other,  but  if  sepa- 
rated by  black  or  white,  or  by  neutral  colors,  this  mutual  detrac- 
tion is  prevented  or  modified.  If,  for  example,  we  place  blue 
and  green  together,  one  color  will  partly  destroy  the  other,  and 
the  point  of  junction  of  the  two  will  scarcely  be  discernable ; 
but  if  we  separate  the  two  by  either  a  black  or  white  line,  the 
effect  is  materially  improved.  In  the  same  manner  we  may  deal 
with  red  and  orange,  or  with  any  other  two  powerful  or  bright 
colors,  and  the  result  will  be  invariably  the  same. 

In  speaking  of  neutral  colors  the  peculiar  properties  of  gold 
should  be  pointed  out. 

Although  the  appearance  of  gold  is  decidedly  yellow,  yet  it 
is  one  of  the  most  neutral  colors.     Not  only  does  it  harmonize 


US  DESIGN  TEXTS. 


with  any  or  all  colors,  but  it  modifies  the  effect  of  any  two 
colors,  or  composition  of  color  upon  each  other.  It  is  for  this 
property  as  much  as  for  richness  that  gilded  frames  are  pre- 
ferred for  pictures,  the  richness  and  neutrality  of  gold  not  only 
tending  to  improve  the  effect  of  the  coloring  of  the  picture,  but 
at  the  same  time  effectually  preventing  the  interference  of  any 
surrounding  colors. 

Gold  is  a  color  which  is  very  rarely  used  in  textile  fabrics, 
yet  it  may  sometimes  be  used  with  advantage,  bearing  in  mind 
this  peculiar  property. 


LECTURE   No.  4. 

COMBINATION    OF    COLORS. 

Red  and  blue,  in  small  quantities,  is  a  useful  combination, 
but  if  used  in  large  quantities  is  considered  bad  taste  and  in- 
elegant. The  red  assumes  a  bluish  cast,  or  what  is  termed 
crimson.     The  blue  takes  upon  itself  a  greenish  cast. 

Red  and  yellow.  This  combination  is  bright  and  cheerful, 
but  very  powerful;  be  careful  in  using  this  combination.  The 
red  appears  scarlet,  the  yellow  assumes  a  greenish  cast. 

Yellow  and  blue.  Each  color  increases  in  luminosity,  lustre, 
and  depth.  Yellow  and  blue  being  contrasting  colors,  they  do 
not  suffer  much  change  in  hue  by  association,  one  color  in  such 
combinations  gives  precision  to  the  qualities  of  the  other. 

Red  and  green.  Red  appears  exceedingly  bright  and  cheer- 
ful, the  lustre  and  fullness  of  hue  is  emphasized.  The  green 
appears  softer  and  cooler,  that  is,  the  coolness  and  softness  of 
hue  is  emphasized.  Red  and  green  are  complimentary  colors; 
they  also  give  precision  to  the  qualities  of  the  other. 

Red  and  violet.  Red  becomes  more  scarlet,  and  takes  upon 
itself  a  yellowish  cast.  The  violet  becomes  greenish;  this  com- 
bination is  not  good,  but  very  inelegant. 

Red  and  orange  is  a  very  warm  and  powerful  blend;  great 
care  should  be  used  with  this  combination.  The  red  becomes 
more  violet,  the  orange  becomes  yellowish. 

Yellow  and  violet.  This  is  a  most  beautiful  combination, 
warm  and  potent.  Both  colors  gain  in  lustre  or  luminosity  and 
strength.     This  is  a  perfect  or  complete  contrast. 


DESIGN  TEXTS.  119 


Blue  and  orange.  Both  hues  are  increased  by  association. 
Recommend   caution   in  using  this  blend. 

Orange  and  green.  This  is  a  very  strong  contrast;  orange 
appears  scarlet,  and  the  green  somewhat  of  a  violet  cast. 

Violet  and  green.  This  is  not  a  very  pleasing  combination, 
although  much  used.  The  violet  assumes  a  reddish  cast,  while 
the  green  appears  of  a  yellowish   cast  and   much  flatter  intone. 

Violet  ;uid  orange.  This  is  always  considered  a  very  elegant 
and  effective  combination.  The  violet  is  slightly  greener,  and 
the  orange   becomes  more  luminous  or  yellowish. 


LECTURE  No.  5. 

REVIEW     OF    COLORS. 
Definition. 

Color  is  a  visual  sensation,  caused  by  waves  of  incomplete 
light  acting  upon  the  eye. 

Prismatic  colors,  white  light,  that  is  sunlight,  is  composed  of 

various  colors,  as  is  easily  shown  by  placing  a  prism  in  the  path 

of  a  small  beam  of  sunlight.     The  prism   separates  the  different 

colors  that  compose  white  light,  and  produces  what  is  known  as 

the   prismatic  or  solar  spectrum,  the  colors  of  which  we  have 

placed  under  the  head  of   normal   colors.     Red,  orange,  yellow, i 

\(  green,  blue  and  violet,  these  colors  are  the  same  and  their  arrange-l 

ment  is  in  the  same  order  as  in  the  rainbow.     The  three  primary 

colors  are  red,    blue,   and   yellow.     The    secondary    colors    are 

produced  by  the  admixture  of  two  primaries.     The  admixture  of 

the  secondary  colors  produce  the  three  tertiaries. 

Red  and  Blue         Produce     Violet 

Red  and  Yellow  ,,  Orange 

Blue  and  Yellow         ,,  Green 

Orange  and  Green     ,,  Citrine 

Violet  and  Green        ,,  Olive 

Orange  and  Violet     ,,  Russet 

REVIEW  OF  COLORS. 

Red,  when  placed  in  juxtaposition  with  green,  increases  its 
intensity,  green  also  increases  the  intensity  of  red.  Normal  red 
differs  very  little  from  that  of  a  ripe  red  cherry. 


120  DESIGN  TEXTS. 


Orange,  next  to  red,  is  one  of  the  most  pleasing-  colors, 
its  complimentary  color  is  a  greenish  blue. 

7'elloiv  in  the  decorative  arts  is  almost  always  represented 
by  gold.  In  moresque  art,  where  yellow  is  used  extensively, 
gold  is  almost  always  employed  instead  of  the  yellow  pigment, 
the  complimentary  color  to  yellow  is  violet  blue. 

Green.  During  part  of  the  year  green  is  the  most  prevalent 
color  in  nature,  and  it  is  much  more  pleasing  in  nature  than  it 
is  in  art  and  dress.  Many  of  the  so-called  greens  in  nature, 
however,  incline  more  towards  yellow  than  green,  and  experi- 
ments in  out  of  door  sketching  soon  convinces  the  painter  that 
things  are  not  as  green  as  they  seem.  For  general  use  the 
subdued  greens,  those  approaching  the  grays  and  yellows,  are 
more   satisfactory  than  the   brighter  ones. 

Green  is  the  complimentary  color  of  red,  blue  is  classed  as 
a  restful  color,  also  a  receding  and  a  cool  color.  It  is  unob- 
trusive wherever  used.  Light  blue  resembles  white,  dark  blue 
has  the  reverse  effect  and  approaches  black  more  nearly  than 
any  other  color.     The   complimentary  color  is  orange. 

Violet.  This  color  varies  little  from  purple,  being  but  slightly 
bluer  in  hue.  In  pigmentary  colors  it  is  produced  by  mixing  red 
and  blue.  Violet  is  a  color  that  is  more  easily  managed  in  com- 
bination than  some  of  the  other  colors,  and  is  very  often  used  in 
dress  when  subdued  in  tone  and  hue.  Combinations  which  are  con- 
sidered allowable:  Violet  and  yellow  green,  violet  and  orange 
yellow,  violet,  orange  and  green,  violet,  gold  and  gray.  Violet 
also  harmonizes  with  several  other  colors  when  more  than  two 
enter  into  the  combination.  Violet  does  not  combine  with  red 
and  purple,  blue  and  violet  is  a  bad  combination. 

Light  red  is  any  tone  of  red  that  is  lighter  than  the  normal 
color.  Complimentary  color  of  red  is  blue  green,  so  a  tint  of 
blue  green  will  harmonize  with  light  red. 

Light  orange  is  one  of  the  common  colors  in  nature,  the 
sky  is  often  streaked  with  it  in  the  morning,  and  tinted  with 
it  in   the  evening. 

Light  yellow  is  any  tint  of  yellow  that  is  lighter  than  the 
normal  color.  The  most  beautiful  tints  of  yellow  may  be  seen 
in  the  sky  at  sunrise  and   sunset. 

Light  green.  Nature  furnishes  a  great  variety  of  greens, 
most  of  them,  however,  are  lighter  than  the  normal  green,  and 
incline    towards    yellow    in    hue.      The    most    valuable   office   of 


DESIGN  TEXTS.  121 


green  is  to  give  brilliancy  to  a  design.  It  combines  well  with 
gold,  but  is  seldom  agreeable  when  used  in  combination  with 
several  different  colors.  A  light  green  pattern  upon  a 
dark  ground  will  be  found  pleasing  in  effect,  the  reverse  ar- 
rangement is  not  satisfactory.  Green  is  a  color  that  is  difficult 
to  handle  in  large  masses,  and  it  needs  other  colors  to  assist 
in  producing  a  harmonious  effect.  A  light  green,  or  grayish 
green,  however,  usually  looks  better  in  large  masses  if  used 
alone,  or  with  simply  a  stripe  or  border  of  a  darker  tone  of  the 
same  color.  A  subdued  green  fatigues  the  eye  the  least  of  any 
of  the  colors. 

Light  blue  is  a  restful  and  retiring  color,  it  has  the  effect 
of  making  objects  appear  more  distinct  than  they  are,  this  is 
why  it  enters  largely  into  the  decoration  of  ceilings  and  small 
rooms,  it  is  one  of  the  cool  colors  which  puts  it  in  demand  for 
summer  draperies. 

White  forms  an  agreeable  harmony  with  blue,  without  the 
assistance  of  other  colors.  The  tints  of  blue  and  those  that 
incline   towards  light  gray  in    tone  are  very  pleasing. 

Light  violet.  Violet  is  a  variety  of  purple,  it  is  said  to  be 
a  red  graduated  with  blue,  while  in  violet  the  red  and  blue  are 
equally  blended. 

Dark  red.  The  variations  of  a  color  that  are  produced  by 
adding  red  or  black  to  the  pure  color  are  its  different  tones. 
Dark  red  is  a  tone  of  red  that  is  darker  than  the  normal  red. 
There  is  no  limit  where  a  darkened  color  ceases  to  be  the  shade 
of  that  color  until  the  effect  of  the  color  is  entirely  lost  and  black- 
is  reached. 

Dark  orange  that  inclines  towards  red  is  called  a  deep  orange 
or  red  orange,  but  when  it  is  simply  darkened  either  bv  the 
absence  of  light  or  by  the  addition  of  black,  it  is  a  shade  of 
orange,  in  its  darker  shades  it  forms  a  pleasing  combination 
with  the  hues  of  subdued  yellow,  especially  when  a  stripe  or 
small  figures  of  black  forms  part  of  the  design. 

Dark  yellow.  Comparing  it  with  other  yellows  it  will  be 
found  less  luminous  than  the  normal  yellow,  and  not  so  red  in 
hue  as  the  normal  orange. 

Red  orange  is  nearly  the  color  of  scarlet.  Among  the  many 
pleasing  combinations  of  color  met  with  in  designs:  Red  and 
orange,  blue  and  gold,  red  orange  pattern  upon  a  light  orange 
yellow  ground  enlivened  with  a  light  blue  sparingly  used. 


122  DESIGN  TEXTS. 


Green  yellow.  This  is  a  hue  of  yellow,  being  produced  in  the 
pigmentary  colors  by  the  addition  of  a  little  green  to  yellow. 
It  is  one  of  the  retiring  restful  colors,  and  for  that  reason  it 
forms  an  excellent  background  in  decoration  to  bring-  out  the 
effects  of  orange,   red  and   violet,  of    which  it  is  the  opposite. 

Yellow  green  is  the  chief  color  of  nature  in  early  spring. 
In  autumn  the  greens  that  were  so  intense  in  summer,  are  again 
subdued  with  yellow.  Although  yellow  green  is  a  strong  color, 
it  has  been  used  more  successfully  and  more  generally  than 
pure   green. 

Green  blue  is  not  a  very  common  color,  it  is,  however,  used 
in  decoration  and  dress  goods  to  quite  an  extent,  especially  when 
it  is  subdued  by  association  with  some  other  color. 

Tone  is  the  intensity  of  a  color  or  hue.  It  may  be  of  any 
intensity  between  white  and  black. 

A  tint  is  a  tone  of  a  color  that  is  lighter  than  its  normal  or 
standard  tone. 

A  shade  of  a  color  is  a  tone  that  is  darker  than  its  normal  or 
standard  tone. 

The  tints  and  shades  of  the  light  or  prismatic  theory  are 
produced  by  increased  or  diminished  illumination. 

The  tints  and  shades  of  the  pigmentary  colors  are  produced 
by  the  addition  of  white  or  black  to  the  normal  colors. 


DESIGN  TEXTS.  123 


LECTURE  No.  6. 

ANALYTICAL  TABLE  OF  COLORS. 

It  has  been  found  that  the  primary  colors  in  perfect  purity 
produce  exact  harmonies  in  the  proportion  of  8  parts  of  blue,  5 
parts  of  red,  and  3  parts  of  yellow.  That  the  secondary  colors 
harmonize  in  the  proportions  of  13  violet,  11  green,  and  8  orange, 
and  that  the  tertiary  colors  harmonize  in  the  proportions  of  24 
olive,  21  russet,  and  19  citrine. 

The  figures  which  follow  the  colors  represent  the  proportions 
in  which  they  harmonize. 

Primary — Blue  8.  red  5,  yellow  3. 

Secondary — Violet  13,  green  11,  orange  8. 

Tertiary — Olive  24,  russet  21,  citrine  19. 

PRIMARY.  SECONDARY.  TERTIARY. 

Red  5  )  ^.  „  i 

Yellow    3\  O^nge      8] 

_,  ,  r  Citrine  or  yellow  tertiary,  19. 

Blue         8  )  n  „   I  J  J 

Yellow    3fGreen       UJ 

Blue         8  )  Tr.  ,   ,        ,-  i 
Red  SiVlolet       13| 

[-Russet,  or  red  tertiary,  21. 


Red  5  )  ~ 

Yellow    3  J"  Orang-e 


Yellow  3  )  n  ni 

Blue  8}Green       H! 

_,  ,  y  Olive,  or  blue  tertiary,  24. 

Blue  8  1  «.-.-,  [  } 

Red  5rlolet       13J 


124 


DESIGN  TEXTS. 


DIAGRAMS  OF  HARMONY. 

Blue   8 


Red 


Primary 


Yellow  3 


Violet  13 


Red  5 


Blue  8 


Green  11 

Secondary 

Yellow  3 


Green  11 


Violet  13 


Secondary 
Orange  8 


Olive  24 


Green   11 


Violet  13 


Citrine   19 


Russet  21 

Tertiary 
Orange  8 


DESIGN  TEXTS.  125 


When  two  colors  are  to  produce  ;i  harmony,  the  one  will  be  a 
primary  color,  and  the  other  a  secondary  formed  of  the  other  two 
primaries  (as  noted  in  our  first  lecture,  the  presence  of  the 
three  primary  colors  is  necessary  to  a  harmony;,  or  the  one  will 
be  a  secondary  color  and  the  other  a  tertiary  color  formed  of  the 
two  remaining  secondary  colors. 

PRIMARY.  SECONDARY. 

Red  harmonizes  with  Green — composed  of  Blue  and  yellow 

Yellow     ,,  ,,     Violet  ,,  ,,  Blue    ,,     red 

Blue         ,,  ,,     Orange  ,,  ,,  Red     ,,     yellow 

SECONDARY.  TERTIARY. 

Purple      ,,  ,,     Citrine  ,,  ,,  Green  and  orange 

Blue  and  red  Yellow  ,,    yellow 

Blue        ,,    red 

Green 
Blue  &  yellow  ,,         ,,     Russet  ,,  ,,  Violet  and  orange 

Red  blue  ,,  red  yellow 

Orange 

Red  &  yellow  ,,  ,,     Olive  ,,  ,,  Violet  and  screen 

Red        ,,     yellow 
Blue       ,,     blue 


126  DESIGN  TEXTS. 


PROBLEM    1. 

Block  or  checker  board  effect.     16  threads  x  16  picks. 
Section  A.   8  threads     8  picks  Al. 

8         ,,  8       ,,      Al.     Commence  with  the  2d  thread  of  this 

—  weave. 

16 
Section  B.   8         ,,  8       ,,       Al.     Commence  with  the  2d  thread. 

8  8      ,,       Al. 

16 
Notk.     Mark  the  weave  Al,  commencing  with   the  2d  thread,   with  red. 
Scheme  or  arrangement  of  warp.       1  thread  dark  color,   1   thread    l>ghi 
color. 

Scheme  or  arrangement  of  filling.     1  pick  dark  color,  1  pick  light  color. 

PROBLEM  2. 

Stripe  for  Woolen,  Worsted,  or  Cotton.     24  threads  x  12  picks. 
Section  A.     6  threads     12  picks     Bl. 


B. 

3 

12      ,, 

B2. 

C. 

6 

12      ,, 

Bl. 

D. 

3 

12     ,, 

B2. 

E. 

6 

12      ,, 

Bl. 

Notk.     Mark  the  weave  B2  with  red. 

Arrangement  of  warp.  2  lavender,  1  black  and  orange,  1  black  and 
green,  2  lavender,  3  slate,  6  lavender,  3  slate,  2  lavender,  1  black  and  green, 
1  black  and  orange,  2  lavender. 

Arrangement  of  filling-.     All  black,  or  dark  color. 

PROBLEM  3. 

Stripe  for  Woolen,  Worsted,  or  Cotton.     24  threads,  8  picks. 
Section  A.     8  threads     8  picks  CI. 

B.  4         ,,  8      ,,       Co.     Commence   with    the    3d  thread  and 

twill  to  left. 

C.  4  8      ,,      CI. 

D.  4         ,,  8      ,,       C3.     Commence    with    the   3d   thread  and 

twill  to  left. 

E.  4  8      ,,       CI. 
Note.     Mark  weave  3C  with  red. 

Arrangement  of  warp.  4  drab,  2  brown,  2  drab,  2  brown,  2  drab,  4 
brown,  4  drab,  4  brown.     Filling,  all  brown. 

PROBLEM  4. 

Check  for  Woolen  or  Worsted.     40  threads  x  40  picks. 
Sec* ion  A.     20  threads     20  picks     D9.     Commence  with  the  5th  pick. 
20         „  20     ,,  D8. 

40 

B.     20         ,,  40    ,,         D9.     Commence  with  the  5th  pick. 

Notk.     Mark  D9  with  red. 
Warp,  all  olive.     Filling,  all  dark  brown. 

PROBLEM  5. 

Fancy  weave  stripe  trousering-.     48  threads  x  18  picks. 
Section  A.     48    threads     18  picks  E113.     Commence  with  the  5th  thread 

and  twill  to  the  left. 
B.     48         ,,  18       ,,       E6. 

Note.     Mark  E6  with  red. 

Arrangement  of  warp.     1  brown,  22  drab,  2  brown,  22  drab,   1    brown. 
Filling.     All  brown. 


DESIGN  TEXTS.  127 


PROBLEH  6. 

Stripe  for  Woolen.  Worsted,  and  Cotton.     24  threads  x  12  picks. 
Section  A.     12  threads     12  picks  Bl. 

B.  6         .,  6       .,       B2. 

6         ..  6       ,,       Bl.      Twill  to  left. 

C.  6  6       ,.       Bl. 
6  6       ,,       B2. 

Note.     Mark  B2  red.     Mark  6th  and  7th  threads  blue. 

Arrangement  of  warp.     5  threads  slate,  1  thread  black  and  scarlet  twist, 
1  thread  black  and  green  twist,  17  threads  slate. 
Arrangement  of  tilling-.     All  black. 

PROBLEH  7. 

Stripe  for  Woolen,  Worsted,  or  Cotton.     24  threads  x  8  picks. 
Section  A.     4  threads     8  picks  C2. 

B.  8         ,,  8     ,,        C2.     Commence  with    the    2d   thread    and 

twill  to  left. 

C.  4  8     ,,        C2. 

U.     8  8     ,,        Cll.     Commence  with  the  2d  thread. 

NOTE.      Mark  Cll  with  red.      Mark  the  5th  and  12th  threads  blue. 
Arrangement  of  warp.     4  threads  lavender,  1  thread  black   and  green,   »> 
threads  lavender,  1  thread  black  and  orange,  12  threads  lavender. 
Arrangement  of  filling-.     All  dark  olive. 

PROBLEHi  8. 

Fancy  check  for  Woolen  or  Worsted.     48  threads  x  48  picks. 

Section  A.     24  threads     24  picks  C2. 

CS.      Commence  with  the  4th  thread  and 

twill  to  the  left. 
CI.     Twill  to  left. 

CS.     Commence  with  the  4th  thread  and 

twill  to  the  left. 
CI.     Twill  to  left. 

C.     12        ,,  48       ,,      CI.     Twill  to  left. 

NOTE.     Mark  CS  green.      Mark'  1C  red. 
Warp,  all  lavender.     Pilling,  all  brown. 

PROBLEfl  9. 

Check  for  Woolen,  Worsted,  or  Cotton.     4s  threads  x  4S  picks. 
Section  A.     6  threads     3(>  picks  Bl. 


24 

12 

24       ,, 

12 

12 

36 

12 

12 

6       ,, 

o        ., 

B2. 

6       ,, 

6     .. 
48 

Bl. 

Twill  to  left. 

6       ,, 

36     ,, 

Bl. 

6       ,, 

6     ,, 

Bl. 

Twill  to  left. 

6       ,, 

6     ,, 

B2. 

48 


128  DESIGN  TEXTS. 


6  threads     36  picks  Bl. 

6       ,,  6     ,,  B2. 

6       ,,  6     ,,         Bl.     Twill  to  left. 

48 

6       ,,  36     „  Bl. 

6       ,,  6     ,,  Bl.     Twill  to  left. 

6       ,,  6     ,,  B2. 

48 

6       ,,  36     ,,  Bl. 

6       „  6     ,,  B2. 

6       ,,  6     ,,  Bl.     Twill  to  left. 

48 

6       ,,  36     ,,  Bl. 

6       ,,  6     ,,  Bl.     Twill  to  left. 

6       ,,  6     ,,  B2. 

48 

6       ,,  6     ,,  B2. 

6       ,,  6     ,,  Bl.     Twill  to  left. 

6       ,,  6     „  B2. 

6       „  6     ,,  Bl.     Twill  to  left. 

6       ,,  6     ,,  B2. 

6       ,,  6     „  Bl.     Twill  to  left. 

6       „  6     ,,  B2. 

6       ,,  6     ,,  Bl.     Twill  to  left. 

48 

6       ,,  6     ,,  Bl.     Twill  to  left. 

6       „  6     ,,  B2. 

6       ,,  6     ,,  Bl.     Twill  to  left. 

6       ,,  6     ,,  B2. 

6       ,,  6     ,,  Bl.     Twill  to  left. 

6       ,,  6     ,,  B2. 

6       ,,  6     ,,  Bl.     Twill  to  left. 

6       ,,  6     ,,  B2. 

48 
Note.     Mark  B2  red.     Mark  Bl,  left  twill,  green. 
Light  warp,  dark  filling. 

PROBLEM   10. 

Stripe  for  Woolen,  Worsted,  or  Cotton.     48  threads  x  12  picks. 
Section  A.     12  threads     12  picks  Bl. 

12      ,,  B2. 
12      ,,       Bl. 

12      ,,  B2. 
12      ,,       Bl. 

6      ,,  B2. 
,             6      ,,       Bl.     Twill  to  left. 

12 

6      ,,       Bl.     Twill  to  left. 

6      ,,  B2. 

12 

Notk.  Mark  B2  blue.  Mark  Bl,  left  twill,  orange.  Mark  the  risers 
on  24th  and  25th  threads  and  picks  red. 

Warp  arrangement.  23  threads  light  lavender,  1  thread  lavender  and 
green  twist,  1  thread  lavender  and  orange  twist,  23  threads  lavender. 

Filling  arrangement.  23  picks  olive,  1  pick  olive  and  red,  1  pick  olive 
and  blue,  23  picks  olive. 


B. 

3 

C. 

6 

D. 

3 

E. 

12 

F. 

6 

6 

G. 

6 

6 

DESIGN  TEXTS. 


129 


PROBLEH  11. 

Fancy  stripe  for  Woolen,  Worsted,  or  Cotton.     32  threads  x  40  picks. 
Section  A.     16  threads     40  picks  C2. 


12 

,     C3. 

Commence  with  3d  thread, 
left. 

twill  to 

8 

,     C2. 

Commence  with  2d  thread, 
left. 

twill  to 

12 
8 

,     CI. 

> 

Twill  to  left. 

40 

12 

,,     CI. 

Twill  to  left. 

8 

,     C2. 

Commence  with  2d  thread, 

twill  to 

left. 
C3.     Commence  with  3d  thread,  twill  to 

left. 
C2.     Commence  with  2d  thread,  twill  to 

left. 


40 


Notk.  Mark  C2  to  left,  red.  Mark  C3  green.  Mark  CI  orange.  Mark 
5th,  8th,  11th  threads  blue. 

Warp  arrangement.  4  threads  slate,  1  black  and  orange,  2  slate,  1  black 
and  green,  2  slate,  1  black  and  orange,  21  slate.     Filling,  dark  brown. 

PROBLEM  12. 

Overplaid  and  check  for  Woolen,  Worsted,  and  Cotton. 
48  threads  x  48  picks. 
Section  A.     6  threads     12  picks  Bl. 
6        ,, 
6         „ 
6         „ 
6         ,, 
6         „ 
6  6     ,,        Bl.     L.  T. 


3     „ 

B2. 

6     ,, 

Bl. 

3     ,, 

B2. 

L2     ,, 

Bl. 

6     „ 

B2. 

6     ,, 

Bl. 

48 

Section  B.  6  threads  12  picks  Bl. 
6 
6 
6 
6 
6 
6 


3 

„       B2. 

6 

,        Bl. 

3 

,        B2. 

12 

Bl. 

6 

Bl. 

6 

,        B2. 

L.  T 


'     48 

Section  C.     3  threads     42  picks  B2. 
3  6     ,,       Bl. 


L.  T. 


48 

Section  D.     6  threads     12  picks  Bl. 
6  3      ,,       B2. 


6 

6      , 

,       Bl. 

6         „ 

3       , 

,       B2. 

6 

12      , 

,       Bl. 

6 

6      , 

Bl. 

6 

6      , 

,       B2. 

L.  T. 


48 


130 


DESIGN  TEXTS. 


Section  E. 

3  threads 

42  picks  B2. 

3        „ 

6      ,, 

48 

Bl. 

Section  F. 

6  threads 

12  picl 

.s  Bl. 

6 

3       ,, 

B2. 

6 

6       „ 

Bl. 

6 

3       ,, 

B2. 

6 

12       ,, 

Bl. 

6 

6       „ 

Bl. 

6 

6       „ 
48 

B2. 

Section  G. 

6  threads 

12  picks  Bl. 

6 

3      ,, 

B2. 

6 

6      ,, 

Bl. 

6 

3      ,, 

B2. 

6 

12      ,, 

Bl. 

6 

6      ,, 

B2. 

6 

6      „ 

48 

Bl. 

Section  H. 

6  threads 

6  picks 

B2. 

6        ,, 

6      ,, 

Bl. 

6 

3      ,, 

B2. 

6 

6      „ 

Bl. 

6 

3      ,, 

B2. 

6 

6      ,, 

Bl. 

6 

6      ,, 

B2. 

6 

6      ,, 

Bl. 

6 

6      ,, 

48 

B2. 

Section  I. 

6  threads 

6  picks 

Bl. 

6 

6      ,, 

B2. 

6 

3      „ 

Bl. 

6 

6      ,, 

B2. 

6 

3      „ 

Bl. 

6 

6      i, 

B2. 

6 

6      ,, 

Bl. 

6 

6      ,, 

B2. 

6 

6      ,, 

Bl. 

L.  T. 


L.  T. 


L.  T. 


L.  T. 


L.  T. 


L.  T. 


L.  T. 


L.  T. 


L.  T. 


L.  T. 


L.  T. 


L.  T. 


48 
Note.     Mark  B2  red.     Mark  Bl,  left  twill,  ^reen. 

Arrangement    of    warp.     12  lig-ht,  1  twist,   10  light,    1  twist,   12  light,   1 
twist,  4  light,  2  twist,  4  light,  1  twist. 

Filling  is  arranged  in  the  same  order  as  the  warp. 

PROBLEM    13. 

Check  and  spot  effect  for  Woolen  and  Worsted.     48  threads  x  48  picks. 
Section  A.     8  threads     8  picks  C2.     L.  T. 
8  8       ,,     Cll. 

8         „         32       ,,     C2.     L.  T. 

48 

Section  B.     8  threads    8  picks  Cll. 

8  8     ,,         C2.     R.  T. 

8  8     ,,         Cll. 

8         ,,        24     ,,         C2.     L.  T. 


48 


DESIGN  TEXTS.  131 


Section  C.     8  threads     8  picks  C2.     L.  T. 
8  8     ,,       Cll. 

8         „         32     ,,       C2.     L.  T. 

48 
Section  D.     8  threads    32  picks  C2.     L.  T. 
8  8     ,,       Cll. 

8  8     „       C2.     L.  T. 

48 
Section  E.     8  threads     24  picks  C2.     L.  T. 
8  8       ,,         Cll. 

8         ,,  8       ,,         C2.     K.  T. 

8  8       ,,         Cll. 

48 
Section  F.     8  threads     32  picks  C2.     L.  T. 
8  8      „     Cll. 

8  8       „     C2.     L.  T. 

48 

NOTE.  Mark  Cll  green.  Mark  C2,  R.  T.,  red.  Mark  the  risers  on  the 
12th,  13th,  36th,  37th  threads  and  picks  orange. 

Arrangement  of  warp.  11  threads  sage,  1  black  and  scarlet,  1  black  and 
green,  22  sage,  1  black  and  green,  1  black  and  scarlet,  11  sage.  Filling. 
Olive  in  place  of  sage,  the  other  threads  same  as  warp. 

PROBLEH  14. 

Check,  or  Overplaid,  for  Woolen,  Worsted,  Cotton,  Linen,  and  Silk. 

48  threads  x  48  picks. 

Section  A.     24  threads  24  picks    C2. 

24         „  8       ,,       Cll. 

24         „  8       ,,       C2.     L.  T. 

24         ,,  8      „        Cll. 

48 
Section  B.     8  threads    32  picks  Cll. 

8  8       „      C2.     L.  T. 

8  8       ,,       Cll. 

48 
Section  C.     8  threads     48  picks  C2.     L.  T. 

Section  D.     8  threads     32  picks  Cll. 

8  8     „        C2.     L.  T. 

8  8     ,,        Cll. 

48 

None.  Mark  Cll  blue;  C2,  L.  T.,  red.  Mark  the  risers  on  the  33d  and 
40th  threads  and  picks  with  orange. 

Arrangement  of  warp.  32  threads  olive,  1  black  and  crimson,  6  threads 
olive,  1  black  and  crimson,  8  olive.  Filling  arrangement  same  as  warp, 
using  black  in  place  of  olive. 

PROBLEM   15. 

Fancy  broken  twill  effect,  for  Woolen,  Worsted,  Cotton  and  Linen. 
64  threads  x  64  picks. 
Section  A.     8  threads     16  picks  C2.     2d  thread. 

8         ,,  16       ,,     C2.     L.  T.     2d  pick. 

8  8  Cll. 

8         ,,  16        ,,     C2.      L.  T. 

8  8  C. 

64 


132  DESIGN  TEXTS. 


Section  B      8  threads       8  picks  C2.  L.  T.     2d  pick. 

8         ,,  24     ,,       C2.       2d  thread. 

8         ,,  16     ,,       C2.  L.  T.  2d  pick 
8                       8     ,,      Cll. 

8         ,,  8     ,,      C2.  L.  T.     2d  pick. 

64 

Section  C.     8  threads    8  picks  Cll. 

8         „         16       „       C2.     L.  T.     2d  pick. 

8        „         24      ,,      C2.     2d  thread 

8         ,,         16      ,,       C2.     L.  T.     2d  pick. 

64 

Section  D.     8  threads  16  picks  C2.  L.  T.     2d  pick. 

8          „  8       ,,     Cll. 

8          ,,  16       ,,      C2.  L.  T.     2d  pick. 

8          „  24       ,,      C2.  2d  thread. 

64 

Section  E.     8  threads     8  picks  C2.     L.  T.     2d  pick. 
8        ,,         24     „       C2.     2d  thread. 
8         „         16     ,,       C2.     L.  T.     2d  pick. 
8         „  "        8     ,,       Cll. 
8         ,.  8     ,,       C2.     L.  T.     2d  pick. 

64 

Section  F.     8  threads  16  picks  C2.     2d  thread. 

8         „  16     ,,       C2.     2d  pick. 
8  8     ,,       Cll. 

8         ,,  16     ,,       C2.     L.  T.     2d  pick. 
8         ,,  8     ,,       C2.     2d  thread. 

64 

Section  G.     8  threads  16  picks  C2.  L.  T.     2d  pick. 

8  8  Cll 

8         \\  16     \\       C2.  L.  T.     2d  pick. 

8         ,,  24     „       C2.  2d  thread. 

64 

Section  H.     8  threads     8  picks  Cll. 

8         ,,         16     ,,       C2.     L.  T.     2d  pick. 

8         ,,        24     ,,      C2.     2d  thread. 

8         ,,        16     ,,       C2.     L.  T.     2d  pick. 

64 
Note.     Mark  Cll  orange;  C2,  left  twill,  blue. 
Warp,  light.     Filling,  dark. 

PROBLEn  16. 

Herringbone  stripe  for  Woolen  and  Worsted.     80  threads  x  10  picks. 
Section  A.     5  threads     10  picks  D3. 


B. 

5 

10 

„     D5. 

3d  thread  L.  T 

C. 

5 

10 

,,     D3. 

D. 

5 

10       , 

,     D5. 

3d  thread  L.  T. 

DESIGN  TEXTS. 


133 


E.  5  threads     10  picks  D3. 

F.  5         ,,  10       ,,     D5.     3d  thread   L.  T. 

G.  25         ,,  10       ,,     D3. 

H.  25         ,,  10       ,,     D5.     3d  thread  L.  T. 

NOTE.     Mark  D5  red. 
Warp,  light.     Filling,  dark.     Also,  piece  dyed. 

PROBLEM   17. 

Fancy  stripe  for  Woolen  and  Worsted.     64  threads  x  24  picks. 
Section  A.     16  threads     24  picks  C2.     2d  pick. 


B. 

16 

24 

,,     C190. 

C. 

16 

24 

„     C2. 

D. 

16         „ 

24      , 

,     Cll.     2d  thread 

Note.     Mark  G190  red.     Mark  Cll  green. 
Warp,  light.     Filling,  dark. 

PROBLEfl  18. 

Check  for  Woolen  and  Worsted.     64  threads  x  64  picks. 

Section  A.     32  threads     32  picks  G80.     7th  thread.     L.  T. 


32 


B.     32 
32 


32 

64 

32 
32 

64 


G63.     8th  thread. 


G63.     2d  thread. 

G80.     5th  thread.      L.  T. 


Note.     Mark  G63  red.     Piece  dyed. 

PROBLEn  19. 

Twill  or  diagonal  effect.     64  threads  x  64  picks. 
Section  A.     16  threads     32  picks  G63. 


16 


32 


64 


G85.     6  thread,  L.  T. 


Section  B. 

16 
16 
16 

J> 

16 
32 
16 

64 

J* 

» y 

G80. 
G63. 
G80. 

6  thread, 
6  thread, 

L. 
L. 

T. 
T. 

Section  C. 

16 
16 

)  y 

32 
32 

64 

» » 
yy 

G80. 
G63. 

Section  D. 

16 
16 
16 

11 

16 

32 
16 

y  y 

G63. 
G80. 
G63. 

6  thread. 

L. 

T. 

64 
Note.     Mark  G85  red.     Piece  dyed. 


134  DESIGN  TEXTS. 


8 

16   „   G15. 

R.  T. 

8 

16 

,   G15. 

L.  T. 

16 

16   , 

,  G126. 

16 

16   , 

,   G1S. 

R.  T. 

16 

16   , 

,   G15. 

L.  T. 

16 

16   , 

,  G126. 

8 

16   , 

,   G15. 

R.  T. 

PROBLEfl  20. 

Fancy  twill  and  basket  stripe.  96  threads  x  16  picks. 
Section  A.  8  threads  16  picks  G15.  8th  pick,  L.  T. 
B. 
C. 
D. 
E. 
F. 
G. 
H. 

Note.     Mark  left  twill,  green,  G15.     Mark  G126  red. 

The  student  must  now  commence  to  arrange  the  weaves  with  the  least 
possible  float  or  flush,  the  twill  weaves  and  basket  weaves  to  be  arranged  so 
that  they  will  cut.     Light  warp,  dark  filling. 

PROBLEH  21. 

Running  basket  spot  effect  for  Worsted.     96  threads  x  96  picks. 
Section  A.     16  threads     16  picks  G40,  4th  thread. 
16         ,,  16       ,,      G67,  L.  T. 

16         ,,  64       ,,      G40,  4th  thread. 

96 

Section  B.     16  threads     16  picks  G40. 

16         „  16       ,,     G67. 

16         ,,  16       ,,     G40. 

16         „  48       ,,     G67. 

96 
Section  C.     16  threads     16  picks  G40. 
16         „  16       ,,     G67. 

16         „  64       „     G40. 

96 
Section  D.     16  threads     64  picks  G40. 
16         ,,  16       ,,      G67. 

16         „  16      „      G40. 

96 

Section  E.  16  threads  48  picks  G40. 

16    ,,  16   ,,   G67. 

16    ,,  16   ,,   G40. 

16    „  16   „   G67. 

96 

Section  F.     16  threads    64  picks  G40. 
16         „  16      ,,       G67. 

16         ,,  16      ,,       G40 

96 
Note.     Mark  40G  red.     Piece  dyed. 

PROBLEM  22. 

Spot  effect.     Woolen  and  Worsted.     64  threads  x  64  picks. 
Section  A.     8  threads     8  picks  C2.     3d  thread. 
8         ,,  8      ,,      C60.     2d  pick. 

8         ,,        48      „       C2.     3d  thread. 

64 


DESIGN  TEXTS.  13S 


Section  B.      8  threads     8  picks  C2.     3  T . 
8  24      ,,       C60.     2  P. 

8        „        32      „      C2.     3T. 

64 

Section  C.     8  threads    24  picks  C60.     2  P. 
8         ,,  40       ,,       C2.     3  T. 

64 

Section  D.     8  threads     16  picks  C2.     3  T. 
8  8       ,,       C60.     2  P. 

8         ,.  40       ,,       C2.     3  T. 

64 

Section  E.     8  threads     40  picks  C2.     3T. 
8  8     ,,      C60.     2  P. 

8         ,,  16     .,      C2.     3T. 

64 

Section  F.     8  threads     40  picks  C2.     3T. 
8         ,,  24       ,,     C60.     2  P. 

64 

Section  G.     8  threads     32  picks  C2.     3  T. 
8  24     ,,       C60.     2  P. 

8        „  8     „       C2.     3T. 

64 

Section  H.     8  threads    48  picks  C2.     3  T. 
8  8     „       C60.     2  P. 

8         „  8     „       C2.     3T. 

64 
Note.     Mark  C60  red.     Light  warp,  dark  filling. 

PROBLEn  23. 

Basket  check  suiting.     Woolen  and  Worsted.     64  threads  x  64  picks. 
Section  A.     24  threads    24  picks  Cll.     2  T.     2  P. 
24         ,.  8     ,,       C60. 

24         ;,  16     „        Cll.     2T.     2  P. 

24         „  8     „        C60. 

24         „  _8     I,        Cll.     2T.     2  P. 

64 
Section  B.     8  threads    64  picks  C60. 

Section  C.     16  threads  24  picks  Cll.     2  T.     2  P. 

16        ,,  8      ,,       C60. 

\l  16      „       Cll.     2T.     2  P. 

16  8       ,,       C60. 

It   ;;    j  ;:  en.  2T.  2  p. 

64 
Section  D.     8  threads    64  picks  C60. 


136 


DESIGN  TEXTS. 


Section  E.     8  threads  24  picks  Cll.     2  T.     2  P. 

8  8     ,,  C60. 

8         ,,  16     ,,  Cll.     2  T.     2  P. 

8         ,,  8     „  C60. 

8  8     „  Cll.     2  T.     2  P. 


64 


Note.     Mark  Cll  red. 


PROBLEM  24. 

Fancy  check.     Woolen  and  Worsted.     64  threads  x  64  picks. 

Section  A.     16  threads  16  picks  Cll.  2  T.     2  P. 

16         „  8     ,,        C2.  2  P. 

16         ,,  8     ,,        C60. 

16        ,,  16     ,,        Cll-  2  T.     2  P. 

16         ,,  8     ,,        C60. 

16           :  8     ,,        C2.  2  P. 

64 

Section  B.       8  threads     64  picks  C60. 

Section  C.       8  threads  24  picks  C2.     2  P. 

8  8       ,,     C60. 

8         ,,  16       ,,     C2.     2  P. 

8  8       ,.     C60. 

8         „  8       „     C2.     2  P. 

64 

Section  D.     16  threads  16  picks  Cll.     2  T.     2  P. 

16        ,,  8     ,,  C2.     2  P. 

16         ,,  8     „  C60. 

16         „  16     ,,  Cll.     2  T.     2  P. 

16         ,,  8     „  C60. 

16         ,,  8     „  C2.     2  P. 

64 

Section  E.     8  threads  24  picks  C2.     2  P. 

8  8      ,,  C60. 

8         ,,  16      ,,  C2.     2  P. 

8  8      ,,  C60. 

8         ,,  8      .,  C2.     2  P. 

64 
Section  F.     8  threads     64  picks     C60. 
Note.     Mark  Cll  green  ;  C60  red. 

PROBLEH  25. 

Fancy  stripe.     Woolen,  Worsted,  and  Cotton.     64  threads  x  16  picks. 
Section  A.     8  threads     16  picks  C2.     2  T.  L.  T. 

B.  8         ,,  16     ,,       C24.     2  P. 

C.  4         ,,  16     ,,       C2.     2  T.     L.  T. 

D.  4         ,,  16     ,,       C24.     2P. 

E.  8         ,,  16     ,,       C2.     2  T.     L.  T. 


DESIGN  TEXTS.  137 


F.     8  threads     16  picks  C60.     8  P. 


G. 

8 

16  , 

,  C24. 

2  P. 

II. 

4 

16  , 

,  C60. 

4  P. 

I. 

4 

16  , 

,  C24. 

2  P. 

J. 

8    „ 

16  , 

,  C60. 

4  P. 

None.     Mark  C24  red.     C60  green. 

PROBLEn  26. 
Fancy  stripe.     Woolen,  Worsted,  and  Cotton.     64  threads  x  16  picks. 
Section  A.     8  threads     16  picks  C60. 


B. 

8 

16   . 

,   C66. 

2  P. 

C. 

4 

16   , 

,   C60. 

D. 

4 

16   , 

,   C66. 

2  P. 

E. 

8 

16   , 

,   C60. 

F. 

8    , 

16   „   C2. 

2  P. 

G. 

8    ,. 

16   , 

,   C66. 

2  P, 

H. 

4 

16   , 

,   C2. 

2  P. 

I. 

4 

16   , 

,   C66. 

2  P. 

J. 

8    r, 

16   , 

,   C2. 

2  P. 

Notr.     Mark  C66  red.     C2  green. 

PROBLEM  27. 

Fancy  rib  and  warp  spot.     Woolen  and  worsted. 

64  threads  x  64  picks. 
Section  A.     8  threads       8  picks  C16. 

8       ,,  8     ,,        C8. 

8       ,,  4     ,,        C16. 

8       „  4     ,,        C8. 

8       ,,  40     ,,        C16. 

64 

Section  B.     8  threads  32  picks  C8. 

8       ,,  8     ,,        C16. 

8       „  16     ,,        C12.     3  T.  3  P. 

8       „  8     ,,        C16. 

64 

Section  C.     4  threads  8  picks  C16. 

4       ,,  8     ,,  C8. 

4       ,,  4     ,,  C16. 

4       ,,  4     ,,  C8. 

4       ,,  40     ,,  C16. 

64 


138  DESIGN  TEXTS. 


Section  D.     4  threads  32  picks  C8. 

4       „  8     ,,        C16. 

4       ,,  16     ,,        C12.     3  T.  3  P. 

4       ,,  8     ,,        C16. 

64 

Section  E.     8  threads  8  picks  C16. 

8       ,,  8     ,,        C8. 

8       ,,  4     ,,        C16. 

8       ,,  4     ,,        C8. 

8       „  40     ,,        C16. 

64 

Section  F.     8  threads  40  picks  C16. 

8       ,,  8     ,,        C8. 

8       ,,  4     „        C16. 

8       ,,  4     ,,        C8. 

8       ,,  8     ,,        C16. 

64 

Section  G.     8  threads      8  picks  C16. 

8       „  16     „        C12.     3  T.  3  P. 

8       ,,  8     „        C16. 

64 

Section  H.     4  threads  40  picks  C16. 

4       ,,  8     .,        C8. 
4       ,,  4     „        C16. 

4       .,  4     ,,        C8. 

4      „  8     „        C16. 

64 

Section    I.     4  threads      8  picks  C16. 

4       ,,  16     ,,        C12.     3  T.  3  P. 
4       „  8    „        C16. 

4       „  32     ,,        C8. 

64 
Section  J.     8  threads    40  picks  C16. 
8       ,,  8     ,,        C8. 

8       ,,  4     ,,        C16. 

8       ,,  4     ,,        C8. 

8       ,,  8     ,,       C16. 

64 
Note.     Mark  C8  blue.     Mark  C12  orange. 

PROBLEM  28. 

Broken  stripe,  Woolen  and  Worsted.     64  threads  x  32  picks. 
Section  A.     8  threads     24  picks  C60.     2  T.  2  P. 


C2.       4  T.  Iv.T. 


32 


Section  B.     8  threads     24  picks  C2.       4  T.  L.T. 
8       ,,  8     ,,        C60.     2  T.  2  P. 

32 


DESIGN  TEXTS.  139 


Section  C.     4  threads     24  picks  C60.     2  T.  2  P. 
4       ,,  8     ,,        C2.       4  T.  L.T. 

32 
Section  D.     4  threads     24  picks  C2.       4  T.  L.T. 
4       „  8     ,,        C60.     2  T.  2  P. 

32 
Section  E.     8  threads    24  picks  C60.     2  T.  2  P. 
8       „  8     „        C2.       4  T.  L.T. 

32 
Section  F.     8  threads       8  picks  C2.       4  T.  L.T. 
8       „  24     ,,        C60.     2  T.  2  P. 

32 
Section  G.     8  threads       8  picks  C60.     2  T.  2  P. 
8       ,,  24     ,,        C2.       4  T.  L.T. 

32 
Section  H.     4  threads      8  picks  C2.       4  T.  L.T. 
4       ,,  24     „        C60.     2  T.  2  P. 

32 

Section    1.     4  threads       8  picks  C60.     2  T.  2  P. 
4       ,,  24     ,,        C2.       4  T.  L.T. 

32 

Section   J.     8  threads       8  picks  C2.       4  T.  L.T. 
8       ,,  24     ,,        C60.     2  T.  2  P. 

32 
Note.     Mark  C60  red. 
Light  warp.     Dark  filling. 

PROBLEM  30. 

Spot  and  check  effect.      64  threads  x  64  picks. 
Section  A.     8  threads      8  picks  C2. 
8       ,,  8     „        C61. 

8  4  C2. 

8      ','  4     \\        C61.     5  P. 

8       ,,  16     „        C2. 

8       ,,  8     „        C6.       2T.  L.T. 

8      „  4     ,,        C2. 

8       ,,  4     ,,        C6.       2T.  L.T. 

8      „  8    „        C2. 

64 
Section  B.     8  threads     32  picks  C61. 

8       ,,  32     ,,        C6.       2  T.  L.T. 

64 

Section  C.     4  threads  8  picks  C2. 

4       ,,  8  ,,  C61. 

4  4  ,.  C2. 

4       ,,  4  ,,  C61.     5  P. 

4       „  16  ,,  C2. 

4       ,,  8  „  C6.       2  T.  L.T. 

4       ,,  4  ,,  C2. 

4       ,,  4  ,,  C6.       2T.  L.T. 

4       „  8  „  C2. 

64 


140 


DESIGN  TEXTS. 


Section  D.     4  threads     32  picks  C61. 
4       ,,  32     ,,        C6. 


64 


Section  E.     8  threads       8  picks  C2. 

C61. 


2  T.  L.T. 


8       , 

4     , 

C2. 

8       , 

i               4     , 

C61. 

5  P. 

8       , 

,             16     , 

C2. 

8       , 

8     , 

C6. 

2  T. 

L.T 

8       , 

.               4     , 

C2. 

8       , 

4     , 

C6. 

2  T. 

L.T 

8       , 

8     , 
64 

C2. 

Section  F.     8  threads      8  pi 

cks  C2. 

8       , 

,               8     , 

C6. 

2  T. 

L.T. 

8       , 

4     , 

C2. 

8       , 

4     , 

C6. 

2  T. 

L.T 

8       , 

,             16     , 

C2. 

8       , 

8     , 

C61. 

8       , 

4     , 

C2. 

8       , 

,               4     , 

C61. 

5  P. 

8       , 

8     , 

C2. 

64 


Section  G.     8  threads     32  picks  C6. 
8       ,,  32     ,,        C61. 


Section  H. 


4  threads 

4 

4 

4 

4 

4 

4 

4 

4 


64 

8  picks  C2. 
8     „       C6. 


4 

4 

16 

8 
4 
4 
8 

64 


C2. 
C6. 
C2. 

C61. 
C2. 
C61. 
C2. 


Section    I,     4  threads    32  picks  C6. 
4       „  32     „       C61. 


64 


2T.  L.T. 

2  T.  L.T. 
2  T.  L.T. 

5  P. 

2  T.  L.T. 


Note. 


Section   J.     8  threads 

8  picks  C2. 

8       ,, 

8 

C6. 

2  T. 

L.T 

8       ,, 

4 

„        C2. 

8       „ 

4 

C6. 

2T. 

L.T 

8       ,, 

16 

C2. 

8       ,, 

8 

„        C61. 

8       „ 

4 

„        C2. 

8       ,, 

4 

„        C61. 

5  P. 

8       ,, 

8 
64 

„        C2. 

[ark  C61  red.     Mark  C6 

green. 

DESIGN  TEXTS.  141 


PROBLEM  31. 

Fancy  check,  Woolen  and  Worsted.     64  threads  x  64  picks. 

Section  A.     32  threads     32  picks  Cll.  2  T.  2  P. 

32       ,,  8     ,,  C2.  2  P.  L.T. 

32       ,,  8     ,,  C61. 

32       „  4     ,,  C2.  2  T.  2  P. 

32       ,,  4     ,,  C61.  5  P. 

32       ,,  8     ,,  C2.  2  T.  2  P. 

64 

Section  B.     8  threads  40  picks  C2.  2  P.  L.T. 

8       ,,  8     ,,        C61. 

8       „  4     ,,        C2.  2  P.  L.T. 

8       ,,  4     ,,        C61.  5  P. 

8       „  8     ,,        C2.  2  P.  L.T. 

64 

Section  C.     8  threads     64  picks  C61. 

Section  D.     4  threads  40  picks  C2.  2  P.  L.T. 
4                       8     ,,        C61. 

4       „  4     „        C2.  2  P.  L.T. 

4       ,,  4     ,,        C61.  5  P. 

4       „  8     ,,        C2.  2  P.  L.T. 

64 

Section  E.     4  threads  64  picks  C61. 

Section  F.     8  threads  40  picks  C2.       2  P.  L.T. 

8       „  8     ,,        C61. 

8       „  4     ,,        C2.       2  P.  L.T. 

8       ,,  4     ,,        C61.     S  P. 

8       ,,  8     ,,        C2.       2  P.  L.T. 

64 
Note.     Mark  C2  red.     Mark  C61  green. 

PROBLEM  32. 

Allover  effect.     Woolen  and  Worsted.     80  threads  x  80  picks. 
Section  A.     8  threads       8  picks  C12.     3  T.  3  P. 
8       ,,  4     ,,        C16. 

8       ,,  8     ,,        C12.     3  T.  3  P. 

8       ,,  8     ,,        C16. 

8       „  8     ,,        C12.     3  T.  3  P. 

8       ,,  20     „        C16. 

8       ,,  8     ,,        C12.     3  T.  3  P. 

8       ,,  16     ,,        C16. 

80 

Section  B.     4  threads      8  picks  C16. 

4  „  8  ,,  C12.     3  T.  3  P. 

4  20  ,,  C16. 

4  „  8  ,,  C12.     3T.3P. 

4  ,,  16  ,,  C16. 

4  ,,  8  ,,  C12.     3  T.  3  P. 

4  ,,  4  ,,  C16. 

4       ,,  8  ,,  C12.     3  T.  3  P. 

80 


142 


DESIGN  TEXTS. 


Section  C. 

8  threads 

16  picks  C16. 

8       ,, 

8 

C12. 

3  T.  3  P 

8       >. 

16 

C16. 

8       ,, 

8 

,,        C12. 

3  T.  3  P. 

8      ,, 

4 

C16. 

8       „ 

8 

C12. 

3  T.  3  P. 

8       ,, 

8 

C16. 

8       ,, 

8 

.,        C12. 

3  T.  3  P 

8       ,, 

4 
80 

C16. 

Section  D. 

8  thre 

ads 

4p 

icks  C12. 

3  T.  3  P. 

8       ,, 

16 

C16. 

8       ,, 

8 

C12. 

3  T.  3  P 

8      ,, 

4 

C16. 

8       ,, 

8 

C12. 

3  T.  3  P. 

8       ,, 

8 

C16. 

8       „ 

8 

C12. 

3  T.  3  P 

8       ,, 

20 

C16. 

8       ,, 

4 
80 

C12. 

3  T.  3  P. 

Section  E. 

4  thre 

ads 

16  p 

icks  C16. 

3  T.  3  P. 

4       „ 

8 

C12. 

4       „ 

16 

C16. 

3  T.  3  P. 

4       ,, 

8 

C12. 

4       ,, 

4 

C16. 

3  T.  3  P. 

4       ,, 

8 

C12. 

4       ,, 

8 

,        C16. 

3  T.  3  P. 

4       ,, 

8 

C12. 

4       ,, 

4     , 
80 

C16. 

3  T.  3  P. 

Sectiou  F. 

8  threads 

8  P 

cks  C12. 

3  T.  3  P. 

8      ,, 

4     , 

C16. 

8       „ 

8     , 

C12. 

3  T.  3  P. 

8       ,, 

8     , 

C16. 

8       „ 

8     , 

C12. 

3  T.  3  P. 

8       ,, 

20     , 

C16. 

8       „ 

8     , 

C12. 

3  T.  3  P. 

8       „ 

16     , 

80 

C16. 

Section  G. 

8  threads 

8  pi 

cks  C16. 

8       ,, 

8 

C12. 

3  T.  3  P. 

8       ,, 

20     , 

Clo. 

8       ,, 

8 

C12. 

3  T.  3  P. 

8       ., 

16 

C16. 

8       ,, 

8     , 

C12. 

3  T.  3  P. 

8       ,, 

4     , 

C16. 

8       ,, 

8     , 
80 

C12 

5  T.  3  P. 

Section  H. 

4  thre 

ids 

8  pi 

cks  C12. 

3  T.  3  P 

4       ,, 

4     , 

C16. 

4       ,, 

8     , 

C12. 

3  T.  3  P. 

4       ,, 

8     , 

C16. 

4       ,, 

8     , 

C12. 

3  T.  3  P. 

4       ,, 

20     , 

C16. 

4       ,, 

8     , 

C12. 

3  T.  3  P. 

4       „ 

16     , 

C16. 

80 


DESIGN  TEXTS. 


143 


Section    I.     8  threads       4  picks  C12.     3  T.  3  P 


16 

8 
4 
8 
8 
8 
20 
4 

80 


C16. 

C12.     3  T.  3  P. 

C16. 

C12.     3  T.  3  P. 

C16. 

C12.     3  T.  3  P. 

C16. 

C12.     3  T.  3  P. 


Section   J.     8  threads     16  picks  C16 


16 

8 

4 


80 


C12.     3T.  3  P. 

C16. 

C12.     3  T.  3  P. 

C16. 

C12.     3  T.  3  P. 

C16. 

C12.     3  T.  3  P. 

C16. 


Section  K.     4  threads       4  picks  C12.     3  T.  3  P 


16 


20 

4 

80 


C16. 

C12.     3  T.  3  P. 

C16. 

C12.     3  T.  3  P. 

C16. 

C12.     3  T.  3  P. 

C16. 

C12.     3  T.  3  P. 


Section  L.     8  threads       8  picks  C16 

C12 


20 

8 

16 

8 
4 
8 

80 


3  T.  3  P. 
C16. 

C12.     3  T.  3  P. 
C16. 
C12.     3  T.  3  P. 


C16. 
C12. 


T.  3  P. 


Note.     Mark  C16  red. 


PROBLEM  33. 

Fancy  check.     Woolen  and  Worsted.     80  threads  x  80  picks. 
Section  A.     8  threads     80  picks  C57. 


Section  B.     4  threads     12  picks  C2. 


16 
8 


C57. 

Cll. 

C57. 

C2 

Cll. 

C57. 

Cll. 

C2. 


3  P.  L.T. 

2  T.  2  P. 

3  P.  L-.T. 
2  T.  2  P. 

2  T.  2  P. 

3  P.  L.T. 


80 


144 


DESIGN  TEXTS. 


Section  C.     8  threads      8  picks  C2. 


Cll. 

C57. 

C2. 

C57. 

C2. 

Cll. 

C2. 

C57. 

C2. 

Cll. 


3  P.  L.T. 

2  T.  2  P 

3  P.  L.T. 

3  P.  L.T. 

2  T.  2  P. 

3  P.  L.T. 

3  P.  L.T. 
2  T.  2  P. 


80 

Section  D.     8  threads      8  picks 

8       „  4 

8       ,,  4 


16 

8 

16 


Cll. 

C2. 

C57. 

C2. 

C57. 

Cll. 

C2. 

C57. 

C2. 


2  T.  2  P. 

3  P.  L.T. 

3  P.  L.T. 

2  T    2  P 

3  P.  L.T. 

3  P.  L.T. 


Section  E. 


4  threads 

4 

4 

4 

4 

4 

4 

4 

4 

4 

4 


80 

8  picks  C2. 


Cll. 

C57. 

C2. 

C57. 

C2. 

Cll. 

C2. 

C57. 

C2. 

Cll. 


3  P.  L.T. 

2  T.  2  P. 

3  P.  L.T. 

3  P.  L.T. 

2  T.  2  P. 

3  P.  L.T. 

3  P.  L.T. 
2  T.  2  P. 


80 
Section  F.    8  threads    80  picks  C57. 
Section  G.     8  threads     12  picks  C2 


4 

8 

8 

16 

8 


C2. 

3  P. 

L.T 

C57. 

Cll. 

2  T. 

2  P. 

C57. 

C2. 

3  P. 

L.T 

Cll. 

2  T. 

2  P. 

C57. 

Cll. 

2  T 

2  P. 

C2. 

3  P. 

L.T 

80 


Section  H. 

4  thre 

ads 

80  p 

icks 

C57. 

Section    I. 

8  threads 

8p 

icks 

Cll. 

2  T. 

2  P. 

8       ,, 

4 

C2. 

3  P. 

L.T 

8       ,, 

4 

> » 

C57. 

8       ,, 

8 

C2. 

3  P. 

L.T 

8       „ 

8 

C57. 

8       ,, 

8 

5) 

Cll. 

2  T 

2  P. 

8       ,, 

16 

» > 

C2. 

3  P. 

L.T 

8       „ 

8 

> » 

C57. 

8       „ 

16 
80 

»> 

C2. 

3  P. 

L.T 

DESIGN  TEXTS. 


145 


Section  J. 

8  thre 

ads 

8 

:>ick^ 

C2. 

3  P.  L.T. 

8       ,, 

4 

? , 

Cll. 

2  T.  2  P. 

8       „ 

4 

C57. 

8        M 

8 

» > 

C2. 

3  P.  L.T. 

8       „ 

8 

C57. 

8       ,, 

8 

j 

C2. 

3  P.  L.T. 

8       ,, 

8 

( 

Cll. 

2  T.  2  P. 

8       ,, 

8 

C2. 

3  P.  L.T. 

8       ,, 

8 

» j 

C57. 

8       ,, 

8 

C2. 

3  P.  L.T. 

8       ,, 

8 
80 

" 

Cll. 

2  T.  2  P. 

Section  K. 

4  threads 

8 

licks 

Cll. 

2  T.  2  P. 

4       ,, 

4 

C2. 

3  P.  L.T. 

4       ,, 

4 

C57. 

4       „ 

8 

C2. 

3  P.  L.T. 

4       ,, 

8 

CS7. 

4       ,, 

8 

Cll. 

2  T.  2  P. 

4       ,, 

16 

C2. 

3  P.  L.T. 

4       ,, 

8 

» i 

C57. 

4       „ 

16 

80 

C2. 

3  P.  L.T. 

Section  L. 

8  thre 

8       „ 

ads 

12 

4 

licks 

C2. 
C57. 

3  P.  L.T. 

8       ,, 

8 

Cll. 

2  T.  2  P. 

8       „ 

8 

C57. 

8       „ 

16 

, 

C2. 

3  P.  L.T. 

8       „ 

8 

Cll. 

2  T.  2  P. 

8       „ 

8 

, 

C57. 

8       „ 

8 

Cll. 

2  T.  2  P. 

8       ., 

8 

>  ? 

C2. 

3  P.  L.T. 

80 
Note.     Mark  Cll  red.     Mark  C57  green. 
Light  olive  warp.     Black  filling. 

PROBLEM  34. 

Al lover  effect.     Woolen  and  Worsted. 
Section  A.    8  threads     20  picks  C17.     3  P. 


8 

f| 

8     ,, 

C60. 

4  P. 

L. 

T 

8 

5  ? 

8     ,, 

C17. 

3  P. 

8 

,, 

20     „ 

C60. 

4  P. 

L. 

T 

8 

>  ? 

8     „ 

C17. 

3  P. 

8 

»> 

16     ,, 
80 

C60. 

8  P. 

L. 

T. 

Section  B. 

4  th 

4 

4 

4 

4 

4 

reads 

8  picks 

8       ,, 

20       ,, 

8       ,, 

16       ,, 

20       ,. 

80 

C60. 
C17. 
C60. 
C17. 
C60. 
C17. 

Section  C. 

8  threads 

16  picks  C60. 

8 

, , 

8       ,, 

C17. 

8 

, , 

16       „ 

C60. 

8 

, , 

20       ,, 

C17. 

8 

,, 

8       ,, 

C60. 

8 

, , 

8       ,, 

C17. 

8 

>  > 

4       ,, 

C60. 

80 


140 


DESIGN  TEXTS. 


Section  D. 

8  threads 

4  picks 

C17. 

8 

16       „ 

C60. 

8 

20       „ 

C17. 

8 

8       „ 

C60. 

8 

8       „ 

C17. 

8 

20       „ 

C60. 

8 

4       ,, 
80 

C17. 

Section  E. 

4  threads 

16  picks 

C60. 

4 

8     ,, 

C17. 

4 

16     ,, 

C60. 

4 

20     ,, 

C17. 

4 

8     ,, 

C60. 

4 

8     „ 

C17. 

4 

4     ,, 
80 

C60. 

Section  F. 

8  threads 

20  picks 

C17. 

8 

8       „ 

C60. 

8 

8      ,, 

C17. 

8 

20      ,, 

C60. 

8        ,, 

8      ,, 

C17. 

8 

16      ,, 

80 

C60. 

Section  G. 

8  threads 

8  picks 

C60. 

8       ,, 

8     ,, 

C17. 

8       ,, 

20     ,, 

C60. 

8       ,, 

8     ,, 

C17. 

8       ,, 

16     ,, 

C60. 

8       ,, 

20     ,, 
80 

C17. 

Section  H. 

4  threads 

20  picks 

C17. 

4       ,, 

8     ,, 

C60. 

4       „ 

8     ,, 

C17. 

4       ,, 

20     ,, 

C60. 

4       ,, 

8     „ 

C17. 

4       „ 

16     „ 

80 

C60. 

Section    I. 

8  threads 

4  picks 

C17. 

8       „ 

16     „ 

C60. 

8       „ 

20     „ 

C17. 

8       „ 

8     ,, 

C60. 

8       „ 

8     ,, 

C17. 

8       ,, 

20     ,, 

C60. 

8       „ 

4     „ 
80 

C17. 

Section  J. 

8  threads 

16  picks 

C60. 

8       ,, 

8     ,, 

C17. 

8       „ 

16     „ 

C60. 

8       ,, 

20     „ 

C17. 

8       ,, 

8     ,, 

C60. 

8       ,, 

8     ,, 

C17. 

8       ,, 

4     ,, 
80 

C60. 

DESIGN  TEXTS. 


147 


Section  K. 

4  thre 

ads 

4  picks 

C17. 

4       „ 

16     ,, 

C60. 

4       ,. 

20     ,, 

C17. 

4       ,, 

8     ,, 

C60. 

4       „ 

8     ,, 

C17. 

4       ,, 

20     ,, 

C60. 

4      ,, 

4     ,, 
80 

C17. 

Section  L. 

8  thre 

ads 

8  picks 

C60. 

8       ,, 

8     ,, 

C17. 

8       ,, 

20     „ 

C60. 

8       ,, 

8     „ 

C17. 

8       ,, 

16     „ 

C60. 

8       ,, 

20     ,, 

C17. 

80 

Notb.     Mark  C60  red. 

Arrangement  of  warp.  4  threads  black,  2  black  and  white,  1  black  and 
gold,  1  black  and  white. 

Arrangement  of  rilling.  4  picks  brown,  2  black  and  lavender,  1  black 
and  green,  1  black  and  lavender. 

PROBLEM  35. 

Allover  effect.      120  threads  x  120  picks. 
Section  A.     12  threads     30  picks  E5. 


12       ,, 

12     ,, 

E4. 

3  P. 

12       ,, 

12     ,. 

E5. 

3  P. 

12       „ 

30     ,, 

E4. 

3  P. 

12      ,, 

18     ,, 

E5. 

12       „ 

18     ,, 
120 

E4. 

3  P. 

Section  B. 

6  threads 

12  picks 

E4. 

6       ,, 

12     „ 

E5. 

6       ,, 

30     ,, 

E4. 

6       „ 

18     ,, 

E5. 

3  P. 

6       ,, 

18     ,. 

E4. 

6       ,. 

30     ,, 
120 

E5. 

3  P 

Section  C. 

12  threads 

24  picks 

E4. 

12       ,, 

18     ,, 

E5. 

12       ,, 

18     „ 

E4. 

3  P. 

12       ,, 

30     „ 

ES. 

3  P. 

12       ,, 

12     ,, 

E4. 

3  P. 

12       ,, 

12     ,, 

E5. 

3  P. 

12      „ 

6     „ 

120 

E4. 

3  P. 

Section  D. 

12  threads 

12  picks 

E5. 

12       „ 

18     ,, 

E4. 

12       ,, 

30     ,, 

E5. 

3  P. 

12       ,, 

12     ,, 

E4. 

3  P. 

12       „ 

12     ,, 

E5. 

3  P. 

12       ,, 

30     ,, 

E4. 

3  P. 

12       ,, 

6     ,, 

E5. 

3  P. 

120 
Note.     Mark  E4  red. 

This  design  has  to  be  completed  by  the  student. 

Same  move  as  Design  No.  34.     It  must  be  noticed  that  the  weave  is  half 
as  large  again  as  at  No.  34. 


148 


DESIGN  TEXTS. 


PROBLEM  36. 

Allovcr  effect.       160  threads  x  160  picks. 
Section  A.     16  threads     16  picks  G19. 


16 

8 

G130 

16 

16 

G19. 

16 

8 

G130. 

16 

24 

G19. 

16 

32 

G130. 

16 

24 

G19. 

16 

8 

G130. 

16 

8 

G19. 

16 

16 
160 

G130. 

Section  B. 

8  th 

reads   8  pi 

cks  G130. 

8 

24 

G19. 

8 

32 

G130. 

8 

24 

G19. 

8 

8 

G130. 

8 

8 

G19. 

8 

16 

G130. 

8 

16 

G19. 

8 

8 

G130. 

8 

16 
160 

G19. 

Section  C. 

16  threads  24  pi 

cks  G130. 

16   , 

24  , 

G19. 

16 

8  , 

G130. 

16   , 

8  , 

G19. 

16   , 

16  , 

G130. 

16   , 

16  , 

G19. 

16   , 

8  , 

G130. 

16   , 

16  , 

G19. 

16   , 

8  , 

G130. 

16   , 

24  , 

G19. 

16   , 

8  , 
160 

G130. 

Section  D. 

16  thr 

eads   8  pi 

:ks  G19. 

16   , 

8  , 

,   G130. 

16   , 

8  , 

G19. 

16   , 

16  , 

G130. 

16   , 

16  , 

G19. 

16   , 

8  , 

G130. 

16   , 

16  , 

G19. 

16   , 

8  , 

G130. 

16   , 

24  , 

G19. 

16   , 

32  ,, 

G130. 

16   , 

16  , 

G19. 

160 

Note.     Mark  G130  red. 

Make  the  same  moves  as  in  design  at  No.  34.  Notice  that  this  design  is 
made  from  2  8-harness  weaves,  whereas  the  design  at  No.  34  is  made  from  2 
4-harness  weaves. 


DESIGN  TEXTS. 


149 


Section  A. 


Allover  effect 

6  threads 

6  ,, 

6  ,, 

6  ,, 

6  ,, 

6  ,, 

6  ,, 

6  „ 


Section  B. 


Section  C, 


Section  D. 


Section  E. 


PROBLEM  37. 

Woolen  and  Worsted  and  Cotton  warp 
60  threads  x  60  picks. 
6  picks  B2.  Section  V. 


3  threads 

3  ,, 

3  ,, 

3  ,, 

3  ,, 

3  ,, 

3  ,, 

3  „ 

3  ,, 


6  threads 

6  „ 

6  ,, 

6  ,, 

6  ., 

6  ,, 

6  „ 

6  ,, 

6  ,, 


6  threads 

6 

6 

6 

6 

6 

6 

6 


3  threads 

3  „ 

3  ,, 

3  „ 

3  „ 

3  „ 

3  ,, 

3  „ 

3  „ 


3 

3 

9 

3 
18 

3 
15 

60 
6  picks  Bl. 


Bl. 
B2. 
Bl. 
B2. 
Bl. 
B2. 
Bl. 


6  threads 
6       ,, 


3 

18 
3 
15 
6 
3 
3 
3 


B2. 
Bl. 
B2. 
Bl. 
B2. 
Bl. 
B2. 
Bl. 


60 

12  picks  Bl. 

3 
15 

6 

3 

3 

9 

3 

6 

60 

15  picks  Bl. 


B2. 
Bl. 
B2. 
Bl. 
B2. 
Bl. 
B2. 
Bl. 


3 

15 

6 

3 
3 
9 
3 
6 


B2. 
Bl. 
B2. 
Bl. 
B2. 
Bl. 
B2. 
Bl. 


Section  G , 


6  threads 

6  ,, 

6  ,, 

6  ., 

6  ,, 

6  „ 

6  ,, 

6  ,, 

6  „ 


picks  B2. 
Bl. 
,,  B2. 
Bl. 
B2. 
Bl. 
B2. 
Bl. 


60 

6  picks  Bl. 


3 
18 
3 
15 
6 
3 
3 
3 

60 


B2. 
Bl. 
B2. 
Bl. 
B2. 
Bl. 
B2. 
Bl. 


Section  H.     3  threads      6  picks  B2. 

3  ,,  3  „  Bl. 

3  „  3  „  B2. 

3  ,,  9  „  Bl. 

3  „  3  ,,  B2. 

3  „  18  ,,  Bl. 

3  „  3  ,,  B2. 


15 


60 


Bl. 


Section    I. 


6  ,,  B2. 

3  ,,  Bl. 

3  ,,  B2. 

9  ,,  Bl. 

3  „  B2. 

18  ,,  Bl. 

3  ;,  B2. 

60 

12  picks  Bl.  Section   J. 


6  threads 

15  p 

icks 

Bl. 

6       ,, 

6 

B2. 

6       ,, 

3 

y  i 

Bl. 

6       ,,       • 

3 

j  i 

B2. 

6       ,, 

9 

>  > 

Bl. 

6       „ 

3 

II 

B2. 

6       ,, 

18 

j  j 

Bl. 

6       ,, 

3 
60 

" 

B2. 

6  threads 

12  p 

icks 

Bl 

6       ,, 

3 

9  * 

B2 

6       „ 

15 

Bl. 

6      ,, 

6 

!, 

B2. 

6       ,, 

3 

J  t 

Bl. 

6       ,, 

3 

B2 

6       ,, 

9 

,, 

Bl 

6       „ 

3 

»  J 

B2 

6       „ 

6 

,, 

Bl 

60 


60 

Note.     Mark  Bl  red.  .  . 

From  the  above  arrangement  the  student  should  make  designs,  using  4, 
5,  and  6-harness  weaves. 


150 


DESIGN  TEXTS. 


PROBLEM  38. 

Spot  effect.     Woolen  Cloaking  and  Cheviot  Cape.     64  threads  x  64  picks. 
Section  A.     8  threads    40  picks  CI. 

8       ,,  8     ,,        C3.     4  T.  L.T. 

8       „  4     ,,        CI. 

8       „  4     ,,        C3.     4  T.  L.T. 

8      ,,  8     ,,        CI. 

64 

Section  B.     8  threads  32  picks  C3.     4  T.  L.T. 

8       ,,  8  ,,  CI. 

8       „  8  „  C3.     4  T.  L.T. 

8       ,,  4  ,,  CI. 

8       ,,  4  ,,  C3.     4  T.  L.T. 

8       „  8  ,,  CI. 


64 
Section  C.     4  threads     40  picks  CI. 
4       „  8     ,,        C3. 

4       „  4     „        CI. 

4       „  4     ,,        C3. 

4       ,,  8     ,,        CI. 


4  T.  L.T. 
4  T.  L.T. 


64 

Section  D.     4  threads  32  picks  C3 

4       ,,  8  ,,        CI 

4       ,,  8  . 

4       „  4  , 

4       ,,  4  ,,        C3 

4       ,,  8  ,,        CI 


4  T.  L.T. 


C3.     4  T.  L.T. 
CI. 

4  T.  L.T. 


64 
Section  E.     8  threads     40  picks  CI. 
8       „  8     ,,        C3. 

8       ,,  4     ,,        CI. 

8       .,  4     ,,        C3. 

8       „  8     ,,        CI. 


4  T.  L.T. 
4  T.  L.T. 


64 
Section  F.     8  threads      8  picks  CI. 

8       ,,  8     ,,        C3.     4  T.  L.T. 

8       ,,  4     ,,        CI. 

8       ,,  4     ,,        C3.     4  T.  L.T. 

8       ,,  40     ,,        CI. 


64 
Section  G.     8  threads       8  picks  CI. 

8     ,,        C3.     4  T.  L.T. 


32 


CI. 

C3.     4  T.  L.T. 

CI. 

C3.     4  T.  L.T. 


Section  H.     4  threads 
4       ,, 
4       ,, 
4       ,, 
4       .. 


64 

8  picks  CI. 
8  ,,  C3. 
4  ,,  CI. 
4  ,,  C3. 
40     ,,        CI. 


4  T.  L.T. 
4  T.  L.T. 


64 


DESIGN  TEXTS. 


151 


Section 

I. 

4  threads 

4       ,, 

4       ,, 

4 

4       ,, 

4       ,, 

8  picks  CI. 
8     ,,        C3. 
4     ,,        CI. 
4     ,,        C3. 
8     ,,        CI. 
32     ,,        C3. 

64 

Section 

J. 

8  threads 

8  picks  CI. 

4  T.  L.T. 
4  T.  L.T. 
4  T.  L.T. 

C3.     4  T.  L.T. 
8       !!  4     ,,        CI. 

8       „  4     ,,        C3.     4T.  L.T. 

8      ',',  40     „        CI. 

64 
Note.     Mark  C3  red. 

PROBLEM  39. 

Stripe.     Woolen  and  Worsted.     48  threads  x  64  picks. 
Section  A.     4  threads     64  picks  C2. 


Section  B.     2  threads     14  picks  C3. 
2      '.'.  18     !',        C3. 


2  T. 
3T. 
4  T. 


64 


Section  C. 
Section  D. 


4  threads  64  picks  C2.  3  T. 
2  threads  32  picks  C3.  4  T. 
2       ,,  32     ,,        CI.     3T. 


Section  E. 
Section  F. 


Section  G. 
Section  H. 


64 

4  threads     64  picks  C2. 

2  threads     22  picks  CI. 

2  32     ,,        C3.     3T. 

2       !!  10     ,,        CI.     3T. 

64 

4  threads     64  picks  C2.     3  T. 

°  threads     28  picks  C3.     3  T. 
2  32     ,,        CI.     3  T. 

2       ',',  4     ,,        C3.     3  T. 

64 

Section    I.     4  threads     64  picks  C2. 

Section  J.     2  threads     14  picks  CI. 

2       ,,  32     ,,         «-"*•     o  i . 

2      „  18     „        Cl.     3T. 

64 
Section  K.     4  threads     64  picks  C2.     3  T. 
Section  L.     2  threads     32  picks  Cl.     3  T. 


32 


64 


C3.     3  T. 


Section  M.     4  threads    64  picks  C2. 


152 


DESIGN  TEXTS. 


Section  N.     2  threads     22  picks  C3. 


2       ,, 
2 

32     ,,        CI. 

10     ,,        C3. 

64 

3  T. 
3  T. 

Section  O. 

4  threads 

64  picks  C2. 

3  T. 

Section  P. 

2  threads 

2       „ 
2 

28  picks  CI. 

32     „        C3. 

4     ,,        CI. 

3  T. 
3T. 
3  T. 

64 

Note.     Mark  C3  red.     Mark  CI  green. 

Arrangement  of  warp.  4  threads  olive,  1  black  and  scarlet,  1  black  and 
blue,  4  olive,  1  black  and  lavender,  1  black  and  j'ellow,  4  olive,  1  black  and 
scarlet,  1  black  and  blue. 

Filling.     Black. 

PROBLEM  40. 

Stripe,  Worsted.     64  threads  x  16  picks. 

Section  A.     32  threads     16  picks     G126.     2  T.  4  P. 

Section  B.     32  threads     16  picks     G56.       8  T.  L.T. 
Note.     Mark  G56  red. 
Lavender  warp.     Olive  filling. 

PROBLEM  41. 

Broken  Plaid.     Woolen  and  Worsted.     64  threads  x  64  picks. 
Section  A.     14  threads     14  picks  C2. 


14 
14 
14 
14 
14 
14 
14 


14 
2 

14 
2 

14 


64 


Section  B. 


2  threads     32  picks  CI 
2       ,,  32     , 

64 


Section  C.     14  threads     14  picks  C2. 


CI. 

3  P. 

C2. 

C3. 

3  P. 

C2. 

CI. 

3  P. 

C2. 

C3. 

3  P. 

CI. 

3  T. 

C3. 

3  T. 

14 
14 
14 
14 
14 
14 
14 


14 

2 
14 

2 
14 

2 

64 


C3. 

3  P 

C2. 

C3. 

3  P 

C2. 

CI. 

3  P. 

C2. 

CI. 

3  P 

Section  D. 


2  threads     16  picks  CI.     3  T. 
2       ,,  32     ,,        C3.     3  T. 

2       „  16     ,,        CI.     3  T. 


64 


DESIGN  TEXTS. 


153 


Section  E.  14  threads  14  picks  C2. 
14 
14 
14 
14 
14 
14 
14 


9 

C3. 

3  P 

14  ,, 

C2. 

2 

CI. 

3  P. 

14  ,, 

C2. 

2 

C3. 

3  P 

14  ,, 

C2. 

2 

CI. 

3  P 

64 

Section  F.       2  threads     16  picks  C3.  3  T. 

2       ,,  32     ,,  CI.  3T. 

2       ,,  16     ,,  C3.  3  T. 


64 


Section  G.     14  threads     14  picks  C2. 


14   ., 

2  ,, 

CI. 

3  P. 

14   ,, 

14  ,, 

C2. 

14   ,, 

2 

CI. 

3  P 

14   ,, 

14  ,, 

C2. 

14   ,, 

2  ,, 

C3. 

3  P 

14   ,, 

14  ,, 

C2. 

14   ,, 

2  „ 

C3. 

3  P 

64 

Section  H.       2  threads     32  picks  C3.     3  T. 
2       ,.  32     „        CI.     3  T. 


64 

Notf..     Mark  CI  green.     Mark  C3  red. 

Arrangement  of  warp.  14  sage,  2  black  and  scarlet,  14  sage,  2  black 
and  green. 

Arrangement  of  filling.  14  olive,  2  black  and  scarlet,  14  olive,  2  black 
and  green. 


154  DESIGN  TEXTS. 


TEXTILE   ARITHHETIC. 

The   Relative  "Counts"  of  Yarn,  etc. 

There  have  been  many  difficulties  to  confront  the  inquirer 
after  the  construction  of  textile  fabrics  as  to  the  meaning-  of  the 
numerous  terms  used  in  the  designation  of  counts  of  yarns  and 
the  variety  of  those  terms  which  represent  the  same  meaning", 
and  which  again  differ  in  the  various  sections  of  the  country, 
according  to  the  individual  application  thereof. 

It  would  be  a  task,  utterly  impossible,  in  this  small  treatise 
to  explain  the  great  variety  of  systems  in  this  country  alone, 
never  taking  into  consideration  the  "legion"  that  abounds  in 
continental  Europe. 

Briefly  the  terms,  cut,  run,  hank,  count,  skein,  dram,  grain, 
etc.,  are  based  upon  two  elementary  principles,  viz.,  weight  and 
length,  literally  representing  a  given  length  of  yarn  for  a  fixed 
weight  and  vice  versa.  Unfortunately  for  a  common  understand- 
ing, the  weight  is  movable  representing  certain  lengths  of  yarn 
and  vice  ve?~sa<  as  a  universal  standard  has  not  yet  been  adopted. 
Hence  the  universal  confusion  which  exists  between  nations, 
countries,  states  and  districts  engaged  in  the  same  identical 
industry  with  regard  to  their  methods  of  calculation.  The 
greatest  diversity,  no  doubt,  prevails  in  the  woolen  industry. 
In  the  United  States  we  have  woolen-cut,  run,  grain,  etc.,  and 
yet  all  are  reducible  to  one  common  and  easily  understood  basis. 
Of  the  advantage  to  be  gained  by  the  adoption  of  an  international 
standard  there  can  be  but  little  doubt.  The  universal  standard 
or  system  which  should  prevail  remains  a  problem  of  the  future. 

A  simple  method  would  be  1000  metres  as  the  unit  of  length 
to  be  called  count  or  number,  and  the  number  of  such  units 
which  weigh  one  K  gram  should  be  taken  to  represent  the  count 
or  number  of  yarn.  By  this  method  the  counts  of  the  yarn 
would  always  show  at  a  glance  the  number  of  metres  per  gram  as 

No.  1  =  1000  metres  =  1  K  g 
No.  2  =  2000  ,,  ,,  „ 
No.  2y2  =  2500   ,,      ,,   ,,       etc.,  etc. 

The  most  rational  method  of  any  is  that  in  use  in  the  New 
Englaud  States,  and   that  is,  that  No.  1  Yarn  Woolen  represents 


DESIGN  TEXTS.  155 


100  yards  to  the  ounce  or  1600  yards  to  the  lb.  as  the  standard, 
and  as  many  yards  as  go  to  make  1  ounce  the  yarn  is  designated 
by  that  number.  The  yarn  is  spoken  of  as  so  many  hundred 
yards  to  the  ounce.     Thus: 

No.  4      =  400      yards  to  the  ounce 

No.  4l/2  =  450  „      ,,     „       ,, 

No.  5      =  500  ,,       ,,     ,, 

No.  5%  =  512.5       ,,       „     ,,       ,,  etc.,  etc. 

Therefore,  the  standard  weight  is  1  ounce  Avoirdupois,  and  the 
number  of  yards  to  that  weight  is  regulated  according  to  re- 
quirements. 

Avoirdupois  weight  is  used  in  measuring  ordinary  articles  of 

merchandise. 

Table 

16  drams  =  1  oz.  (ounce) 
16  oz.  =  1  lb.  (pound) 

28  lb.  =  1  qr.  (quarter) 

4  qr.         =  1  cwt.  (hundredweight) 
20  cwt.       =  1  ton  (long-  ton) 

Note  1.  The  long  ton  is  used  in  the  United  States  custom- 
houses and  the  mining  districts,  in  weighing  coal  and  iron,  but 
for  other  commodities  the  ton  of  2000  lbs.  or  short-ton  is  used. 

Note  2.  The  relation  of  Avoirdupois  weight  to  Troy  weight 
may  be  seen  by  comparing  the  following  table  with  the  Troy  table. 

,',.,  of  7000      grains  =  437^  grains  =  1  oz.  Av. 
/.of    437^       ,,        =    27JJ       „        =  1  dram  Av. 

Note  3.  62^  lbs.  Avoirdupois  =  1000  oz.  the  weight  of  a 
cubic  foot  of  distilled  water. 

Troy    Weight. 

24  gr.     =  1  pennyweight  (pwt. ) 
20  pwt.  =  1  oz. 
12  oz.      =  1  lb. 

Note  4.  The  Troy  pound  is  little  used,  gold  and  silver 
bullion  are  sold  by  the  ounce  ;  gold  ornaments  by  the  penny- 
weight. 

Comparison  of   Weights. 

1  lb.  Troy  =  %%$  =  fi  J  of  1  lb.  Avoirdupois 
1  oz.  Troy  =  iVY'.-,=  \*?,  of  1  oz.  Avoirdupois 

Exercise  1.  How  many  ounces  in  8  lb.  7  oz.  Av.?  in  37  lb.  13  oz.? 
in  548  lbs.  15  oz.?  in  ^  of  1  lb.?  in  ft  of  1  T.?  in  .325  of  a  long  ton? 

Exercise  2.  How  many  grains  in  2  lbs.  5  oz.?  in  \\  of  1  lb.?  in 
.0875  of  1  lb? 


156 


DESIGN  TEXTS. 


Change  the  following  simple  numbers  to  com- 
568  oz.  Av.  2825  gr.    Troy;  7437.5  oz.  Av. 
What  is  the  cost  of  2  tons  of  woolen  waste  at  2l/2 

2  lbs.  12  oz  is  what  part  of  1  T?  12  oz.  is  what 


,,        No.  1  cut 
,,        No.  1  skein 
Worsted  No.  1  count 
Cotton  No.  1  count 
Linen  No.  1  lea 


Exercise    3. 

pound  numbers. 

Exercise    4. 

cents  a  pound? 

Exercise    5. 

part  of  a  ton? 

Table  of   Relative   counts  of  Yarn. 
Woolen  No.  1  run  =  1600  yards  per  lb.  Av.,  standard  No. 

=  300 
=  256 
=  560 
=  840 
=  300 
Spun  silk  No.  1  count  =    840 

Such  fibres  as  linen,  jute,  hemp  and  ramie  fibre  are  usually 
figured  by  the  lea  of  300  yards  to  the  lb.  Av.  In  the  Grain 
System  the  weight  in  "grains"  which  20  yards  weigh  designates 
the   counts. 

Thus  if  20  yards  weigh  20,  25  or  30  grains  the  counts  would 
be  Nos.  20,  25  or  30  grain  yarn  respectively. 

Silk  Counts. 

Spun  silk  (a  term  given  to  silk  that  has  been  remanufactured 
or  respun)is  based  upon  the  same  system  as  cotton,  viz.  hank 
of  840  yards,  and  the  number  of  such  hanks  which  weigh  1  lb. 
denote  the  counts. 

Dram  silk.  The  system  adopted  in  the  United  States  for 
specifying  the  size  of  silk  is  based  on  the  weight  in  drams  (Av.) 
of  a  skein  containing  1000  yards,  a  skein,  thus  weighing  5  drams, 
is  technically  called  5  dram  silk.  The  number  of  yards  of  1 
dram  silk  to  a  pound  must  accordingly  be  16  x  16  xlOOO  or  256000. 
(See  Avoirdupois  table.) 

Dram  silk  is  based  upon   20.000  yards  per  oz. 

Worsted  Counts. 

(length  and  weight  tables.) 
This  system  is   based  upon  the  hank  of  560  yards  and  the 
number  of  such  hanks  which  weigh  1  lb.  equal  the  counts. 

No.  1  =    560  yards  in  1  lb. 

2  =  1120      ,,       ,,1  lb. 

3  =  1680      ,,       ,,  1  lb.  etc.,  etc. 

Cotton  Counts. 

Cotton  is  based  upon  the  hank  of  840  yards  and  the  number 
of  such  hanks  which  weigh  1  lb.  denote  the  counts.  The  follow- 
ing tables  are   used  when   dealing  with   cotton  calculations. 


DESIGN  TEXTS.  157 


Table  of  lengths  for  cotton. 

ll/i  yards  =  the  circumference  of  reel,  or  1  wrap 
120      yards  —  1  lea,  or  80  wraps  of  the  reel 
840      yards  =  7  leas,  or  1  hank 

No.  1  cotton  =    840  yards  in  1  lb. 

2  ,,       —  1680       ,,       ,,  1  lb. 

3  ,,       =2520      ,,       ,,  1  lb.  etc.,  etc. 

Linen  and  other  like  fabrics,  such  as  jute,  hemp,  ramie  fibre 
and  China  grass  are    based    upon  the  lea  of  300  yards,  and  the 
number  of  such  leas  which  weigh   1  lb.  represents  the   counts. 
No.  1  =  300  yards  to  the  lb. 

2  =  600       ,,       ,,     ,,     ,, 

3  =  900       ,,       ,,     ,,     ,,  etc.,  etc. 

English  Woolen   or  Skein    System. 

This  system  is  based  upon  the  skein  of  256  yards,  and  the 
number  of  such  skeins  which  weigh  1  lb.  equals  the  counts. 
In  England  the  yarn  is  spoken  of  as  so  many  yards  to  the  dram, 
or  so  many  skeins,  which  is  the  same  thing  when  referring  to 
its  thickness.  Thus  :  6  skeins  or  6  yards,  to  the  dram  10  skeins 
or  10  yards  to  the  dram. 

No.  1  =  256  yards  to  the  lb. 

2  =  512       ,,       ,,     ,,     ,, 

3  =  768       ,,       ,,     ,,     ,, 

The  standard  weight  is  1  dram  Avoirdupois,  and  the  number 
of  yards  to  that  weight  is  regulated  according  to  requirements. 

Philadelphia  or  the  cut  system  is  based  upon  the  hank  of 
300  yards,  and  the  number  of  such  hanks  which  weigh  1  lb. 
represent  the   counts. 

No.  1  =  300  yards  to  the  lb. 

2  =  600       ,,       ,,     ,,   ,, 

3  =  900       ,,       ,,     ,,   ,, 

When  dealing  with  yarns  from  England  and  Scotland  each 
rural  district  has  its  individual  nomenclature  for  designating 
the  counts  :  Galashiels  300  yds.  in  24  oz.  Hawick  300  yds.  in 
26  ozs.  West  of  England  20  yds.  in  1  oz.  Yorkshire  skein  1536 
yds.  in  1  war  tern  (which  equals  6  lbs.)  Halifax  the  number  of 
drams  80  yards  weigh. 

Exercise  6.  How  many  yards  of  yarn  in  1  lb.  each  No.  23 
cotton,  No.  5  run  woolen,  No.  32  worsted,  No.  22  lea  linen, 
No.  25  spun  silk  ? 

Exercise  7.  What  will  be  the  counts  of  the  following  yarns : 
12600  yards  cotton  =  1  lb.  11200  yards  worsted  =  1  lb.  12000 
yards  linen  =  1  lb.   13440  yards  spun  silk  =  1   lb. 


158  DESIGN  TEXTS. 


Exercise  8.  How  many  yards  per  lb.  of  silk  thread  are  there 
in  No.  4  dram  silk,  No.  5  dram  silk,  No.  3   dram  silk? 

Exercise  9.  Woolen  grain  system.  How  many  yards  per  lb. 
are  there  in  No.  7  grain  woolen  and  No.  5  grain  woolen? 

Exercise  10.  If  16800  yards  of  yarn  weigh  1  lb.  what  counts 
would  represent  this  length  and  weight  in  worsted,  cotton  and 
woolen  ? 

Exercise  11.  The  weight  of  1680  yards  of  worsted  is  3  oz. 
What  is  the  counts? 

Exercise  12.  Find  the  respective  weights  of  800  yards,  4200 
yards  and  6300  yards,  of  (a)  4-run  woolen,  (b)  No.  30  worsted, 
(c)  No.  30  cotton. 

Rule  1.  To  find  the  yards  in  1  lb.  of  any  given  counts  of 
woolen  run,  woolen  cut,  worsted,  cotten,  linen  and  spun  silk, 
multiply  the  standard   number  by  the  given  counts. 

Example.  How  many  yards  in  No.  15  cotton,  3-run  woolen, 
20  worsted?  No.  15  cotton,  840  x  15  =  12600  yds.  3-run  woolen 
1600x3  =  4800   yds.      No.    20  worsted,   560x20  =  11200   yds. 

Exercise  13.  How  many  yards  in  18  lea  linen,  No.  40  spun 
silk,   No.  35    cotton? 

Rule  2.     To  find  the  weight  of   any  number  of  yards  of  a 

given  count  the  number  of  yards  being  given.     Divide  the  given 

number  of  yards  by  the  counts  x  the  standard  number. 

Example.  What  is  the  weight  of  107520  yards  of  No.  32 
cotton? 

4 


=  4  lbs.,  Ans. 

Exercise  14.  Find  the  weight  respectively  of  12400  yards 
of  30  worsted,  11960  yards  of  20  lea  linen  and  7200  yards  of 
4>^-run  woolen. 

It  is  often  necessary  to  require  the  weight  in  ounces  of  a 
small  number  of  yards. 

Rule  3.  Multiply  the  given  number  of  yards  by  16  and  divide 
by  the  counts  x  the  standard    number. 

Example.  What  is  the  weight  in  ounces  of  2800  yards  of 
No.   20  worsted? 

4 
110 

vm  x  w 

=  4  oz.,  Ans. 

w  x  m 

35 


DESIGN  TEXTS.  159 


Exercise  15.  What  is  the  weight  of  4.200  yds.  of  30  cotton, 
3600  yards  of  32  worsted,    1850  yards  of  2  %   run  woolen? 

The  woolen  run  system  is  the  most  simple  of  all  textile 
yarn  calculations,  as  100  yds.  per  oz.  ==  No.  1  run. 

Rule  4.  To  find  the  weight  in  ounces  of  a  given  number  of 
woolen  run  yarn.  Add  two  ciphers  to  the  counts  and  divide 
into  the  given    number  of  threads. 

Example.  What  is  the  weight  of  2700  yds.  of  2  run  woolen? 
13.5 

=  13.5  oz. ,  Ans. 

m 

Exercise  16.  What  will  1840  yds.  of  3#-run,  2100  yds.  of  4^- 
run,  3640  yds.  of  3>4-run  woolen    weigh    respectively? 

Rule  5.  Grain  System.  To  find  the  counts  of  a  woolen 
thread  the  number  of  yards  and  weight  being  known.  (The 
weight  in  grains  which  20  yds.   weigh    designates  the  count  ) 

Multiply  the  given  weight  by  grains  in  1  lb.  x  20  yards,  divide 
by  the  given  number  of  yards  of  yarn. 

What  is  the  counts  of  28000  yds.   which   weigh  4  lbs? 

i  x  WP  x  20 

=  20  grains  per  20  yards.     20s  counts,  Ans. 


2*000 


Exercise  17.  Find  the  counts  of  these  yarns:  14000  yds. 
weigh  7,y2  lbs.,  37620  yds.  weigh  4>4/  lbs.,  29640  yds.  weigh  4  lbs. 

fletric  Tables  and  Measurements. 

Linear  Measure.  Weights. 

10mm  =  lcm  10  m  g  =  1  c  g       . 

10  c    m  =  1  d   m  10  c    g  =  ldg 

10  d    m  =  1  M  10  d  g  =  1  g 

10  M       =  1  d    m  10  g       =  1  D  g 

10  D  m  =  1  H  m  10  D  g  =  1  H  g 

10Hm  =  lKm  10Hg  =  lKg 

The  Continental  method  for  worsted  is  based  upon  1000 
metres  per  kilogram,  c.  £■.,  No.  1  counts  contains  1000  x  1  metres. 
No.  2  counts  contains  1000  x  2  metres.  No.  3  counts  contains 
1000  x  3  metres,     etc.     etc. 

Table  of  Equivalents. 

ldm     =  3.937  inches 

1  oz.        =  28.35  grams 

1  oz.        =  437.5  grains 

1  gram  =  15.432  grains 

lKg     =  2.2046  lbs.  or  15,432.2  grains 

1  M         =  1.094  yards 

1  M         =  39.37  inches 

1000  M  =  1  Kg  or  2.2046  lbs.  worsted  yarn 

1000  M  =  1094  yards 


160  DESIGN  TEXTS. 


Exercise  18.  (a)  What  is  a  dm;  (b)  what  is  its  equivalent 
in  inches;  (c)  how  many  square  inches  in  one  square  d  m;  (d) 
how  many  grams  in  1  oz  ;  (e)  how  many  grains  in  1  g;  (f)  how 
many  lbs.  in  lkg;  (g)  how  many  yards  in  1  metre;  {h)  how 
many  inches   in  1    metre  ;   (/)  how  many  yards  in  1  k  m? 

Exercise  19.  How  many  metrics  of  No.  7  metric  worsted 
in  1  K  g,  7  H  g,  1  D  g  and  9  gms? 

Exercise  20.  What  is  the  weight  in  gms  of  439  metres  of 
No.  5.5  metric  worsted? 

Exercise  21.  What  is  the  difference  in  length  of  7.25  H  g  of 
No.  3.25  metric  worsted  and  5  D  g  of  No.  6.875  metric  worsted. 

In  the  metric  system  woolen  counts  are  based  on  the  same 
principle  as  worsted  counts,  that  is,  1000  gms.  The  same  holds 
true  with  cotton,  linen,  silk,  jute,  etc. 

It  will  be  seen  from  this  that  the  metric  system  possesses 
a  great  advantage  over  the  many  varied  systems  now  in  use, 
inasmuch  that  it  is  simpler  in  calculations,  decimals  doing  away 
with  the  more  complicated  fractions  of  the  so-called  English 
system,  (such  as  $/%,  \%,  \\  or  gf)  etc.,  and  the  uniformity  of 
difference  between  K  g,  H  g,  D  g  and  so  on  rather  than  the 
complex  system  of  tons,  hundredweights,  pounds,  ounces,  drams 
and  grains. 

To  reduce  from  K  g  to  grains  in  the  metric  it  is  only  neces- 
sary to  multiply  the  given  number  by  1000,  while  to  reduce 
from  lbs.  to  drams  in  English  the  given  number  must  be  multi- 
plied by  16  x  16.  With  metric  numbers  the  difference  may  be 
easily  computed.  Taking  2.25  K  g-  of  yarn  and  wishing  to  find 
the  weight  in  grams,  the  following  simple  process  is  all  that  is 

required  : 

2.25  x  1000  =  2250  grams. 

This  weight  approximately  represents  4  lb.,  8  oz.  and  wish- 
ing to  find  the  weight  in  drams  the  following  complicated  equation 

is  necessary: 

4.8  oz.  x  16  x  16  =  drams. 

Then  again  a  No.  1  in  the  English  system  equals  1600 
yds.  woolen,  560  yds.  worsted,  840  yds.  cotton,  300  yds.  linen, 
and  so  on  to  the  lb.,  while  in  the  metric  system  a  No.  1  count 
represents  1000  metres  to  the  K  g  in  each  and  every  variety  of 
yarn,  giving  a  simple    basis  of  comparison    between   the  yarns. 


DESIGN  TEXTS.  161 


The  Continental  system  of  numbering  thrown  silk  is  based 
upon  the  hank  of  400  French  ells.  The  skein  or  hank  is  476 
metres,  or  520  yards,  and  the  weight  of  this  hank  in  deniers  rep- 
resents the  counts. 

533.33  deniers  equal  1  oz. 

If  1  hank  of  the  above  length  weighs  10  deniers,  the  counts 
equal  No.  10  denier. 

Approximately  No.  1  denier  =  533^  x  520  =  277,332  yards  per  oz. 
533]/3  x  520  -s-  40  —  6933^  yards  per  oz.  No.  40  denier 
533^  x  520  -:    60  =  4622%       „         ,,     ,,    No.  60  denier 

To  Change  the  Counts  of  Yarns. 

The  three  great  industries,  Woolen,  Worsted,  and  Cotton, 
are  becoming-  more  and  more  amalgamated  in  their  applications. 
There  are  goods  composed  of  woolen  filling  and  cotton  warps; 
worsted  filling  and  cotton  warps;  woolen  and  worsted  filling  com- 
bined with  cotton  warps;  and  also  woolen  and  worsted  warps 
combined  with  cotton  and  woolen  fillings;  so  that  it  is  important 
that  the  calculations  pertaining  to  each  should  be  well  under- 
stood. The  line  of  the  calculations  in  this  work  has  been  directed 
towards  these  requirements.  There  may  be  shorter  methods  of 
calculation  which  may  be  used  by  those  fully  conversant  with  the 
different  particulars  concerning  textile  manufactures,  but  it 
matters  little  what  the  system  may  be,  if  only  simple  and  reliable. 

Changing  the  counts  of  one  system  of  yarn  into  the  equiva- 
lent of  another  system  of  yarn. 

Rule  6.  To  change  cotton  counts  into  woolen  runs.  Multiply 
840  by  the  known  cotton  counts  and  divide  by  1600,  the  standard 
of  yards  equaling  No.  1  run,  woolen. 

Exercise  22.  What  will  be  the  size  of  a  woolen  thread  equiv- 
alent to  a  No.  20 's  cotton? 

Rule  7.  To  change  cotton  counts  into  worsted  counts.  Mul- 
tiply 840  by  the  known  cotton  counts  and  divide  by  560,  the  stand- 
ard of  yards  equaling  No.  1  worsted  counts. 

Exercise  23.  What  will  be  the  equivalent  in  a  worsted  thread 
to  a  No.  30 's  cotton? 

Rule  8.  To  change  woolen  runs  into  worsted  counts.  Mul- 
tiply 1600  by  the  known  woolen  runs  and  divide  by  560,  the  stand- 
ard of  yards  equaling  No.  1  worsted  counts. 

Exercise  24.  What  will  be  the  equivalent  in  a  worsted  thread 
to  a  7-run  woolen? 


162  DESIGN  TEXTS. 


Rule  9.  To  change  woolen  runs,  worsted  counts,  and  cotton 
counts  into  their  equivalents  in  linen  and  Philadelphia  counts. 
Multiply  by  the  woolen,  worsted,  or  cotton  standard  and  divide 
by  300,  the  standard  of  yards  equaling-  No.  1  lea  linen  and  No.  1 
cut  woolen. 

Exercise  25.  What  will  be  the  equivalent  in  a  linen  thread  to 
a  3-run  woolen,  No.  20  worsted  and  No.  24  cotton? 

Grain  System. 

Rule  10.  To  change  woolen,  worsted,  linen,  and  cotton 
counts  to  their  equivalents  in  the  grain  system.  Multiply  7000 
grains  by  20,  the  yards  representing  the  grain  standard,  and 
divide  by  the  standard  of  the  other  yarns. 

Example.     What  will  be  the  equivalent  in  the  grain  system  to 

a  number  of  20's  cotton? 

7000  x  ?0 

— =  8.33  counts 

?0  x  840 

Kxercise  26.  What  will  be  the  equivalent  in  the  grain  system 
of  the  following  yarns:  No.  24  worsted,  4-run  woolen,  16  lea  linen? 

Dram  System. 

Rule  11.  To  change  woolen,  worsted,  linen,  and  cotton 
counts  to  their  equivalents  in  the  dram  system.  Multiply  the 
given  weight  by  drams  per  lb.  x  the  yards  in  1  dram,  divided  by 
the  given  length  of  yarn. 

What  will  be  the  equivalent  in  the  dram  system  to  No.  30 

cotton? 

1  x  256  x  1000 


30  x  840 
Exercise  27.     Find  the  equivalent  in  the  dram  system  to  No. 
24  cotton,  4^-run  woolen,  30  worsted. 

Denier  System. 
Rule  12.     To  change  woolen,  worsted,  linen  and  cotton  counts 
to  their  equivalents  in  the  denier  system.      Multiply  the  yards  in 
1  hank   (520)   x  deniers  in   1  oz.   (533^)   x  ounces  (16)  in  1   lb., 
divided  by  the  length  in  1  lb.  of  the  known  counts. 

Exercise   28.     What   will   be    the    equivalent    in    the    denier 
system  to  a  No.  30  worsted? 

Metric  System. 
Rule  13.     The  number  of  metres  in  1  kilogram  (1000),  multi- 
plied by  the  number  of  inches   (39.37)  in   1  metre,  will  give  the 


DESIGN  TEXTS.  163 


total  inches.     This,  divided  by  the  inches  (36)  in  1  yard,  will  give 

the  total  yards,  and  again  divided   by   the  weight  of  1  K  m  x  the 

standard  number  will  give  the  English  counts,  or  constant. 

Solution     1000  x  39.37 

=     .885  worsted  constant 


36  x  560  x  2.205 
1000  x  39.37 

36.840  x  2.205 
1000  x  39.37 

36  x  1600  x  2.205 
1000  x  39.37 

36  x300  x  2.205 


.590  cotton  and  spun  silk 
.3099  woolen,  say  .31 
1.653  linen,  and  woolen  cut 


The  English    .885  is  equal  to  a  No.  1  Metric  worsted 
,,  ,,  .590  ,,       ,,       ,,  ,,  1       ,,        cotton  or  spun  silk 

,,  ,,  .310  ,,       ,,       ,,  ,,  1       ,,        woolen 

,,  ,,         1.653  ,,       ,,       ,,  ,,  1       ,,       linen,  etc.,  etc. 

Proof         1  metre  =  1.094  yards.     1  kilogram  =  2.205  lbs. 
1000  metres  No.  1  =  1  kilogram  =  2.205  lbs. 
1000  metres  =  1094  yards 

1094    -s-  2.205  =  496.1  yards  per  lb. 
496.1 -h      560=    .885  worsted  constant 
496.1  -=-■      840=    .590  cotton 
496.1  ~    1600=    .310  woolen 
496.1  -=-      300=  1.653  linen 

Rule  14.  The  English  count,  divided  by  the  constant,  will 
give  the  metric  count. 

English  20  cotton  -j-  .590  =  33.89  Metric  cotton 
Exercise  29.     Find  the  metric  counts  of  24  worsted,  6  run 
woolen,  18  linen. 

Rule  15.  The  metric  count,  multiplied  by  the  constant,  will 
give  the  English  count. 

.310  x  20  Metric  woolen  =  6.2  English  run  woolen 

Exercise  30.  Find  the  counts  in  English  of  23.6  cotton,  28.2 
worsted,  16  woolen,  metric. 

Twisted,  Ply,  and  Compound  Yarns. 

Yarns  spun  from  different  fibres  and  different  denominations 
are  frequently  twisted  together  for  decorative  purposes  as  well 
as  for  strength,  c.  g.,  silk  to  cotton,  worsted  to  woolen,  etc.,  etc., 
and  also  since  yarns  spun  in  one  country  and  consigned  for  use 
in  other  countries  and  localities  where  a  different  system  of  num- 


164  DESIGN  TEXTS. 


bering  of  yarn  is  adopted,  it  becomes  necessary  to  change  any 

given  number  into  an  equivalent  count  of  some  other  required 

denomination. 

Two-Ply  Yarns. 

Worsted  and  cotton  yarns  are  usually  numbered  according  to 
the  count  of  the  single  yarn,  with  the  number  of  ply,  threads,  or 
folds  put  on  the  left  or  before  it. 

Thus  2/40  or  2-40's  yarn  indicate  that  the  yarn  is  composed 
of  two  other  threads  of  No.  40's  single,  making  a  twofold  or  two- 
ply  yarn  of  20  hanks  to  the  lb.,  and  must  be  taken  as  representing 
20  times  840  yds.  cotton  yarn  to  the  lb.,  but  when  written  as  40's 
or  1/40  it  represents  40  hanks,  or  40  x  840  yds.  to  the  lb. 

Spun  silk  yarns  are  generally  two  or  more  ply,  and  the 
number  of  the  yarn  always  indicates  the  number  of  hanks  in  1  lb. 
The  number  of  ply  is  usually  written  after  the  hanks  per  lb. 
Thus  60/2  or  60's-2  spun  silk  indicates  that  the  yarn  is  60  hanks 
to  the  lb.  composed  of  two  threads  of  other  counts. 

Exercise  31.  Find  the  respective  weights  of  6  yds.,  30  yds., 
150  yds.,  1120  yds.,  3600  yds.  (a)  woolen  run  3-run,  (b)  4  grain 
woolen,  (c)  No.  12  woolen  cut,  (d)  No.  20  worsted,  (e)  No.  24 
cotton. 

Exercise  32.  The  weight  of  a  length  of  No.  32  worsted  yarn 
is  2  oz.,  what  is  its  length  ? 

Exercise  33.  If  320  hanks  of  worsted  weigh  12  lbs.  what  are 
the  counts? 

Exercise  34.  Change  the  following  into  cotton  counts:  80/2 
silk,  2/60  worsted,  No.  10  grain  woolen,  No.  40  linen. 

Exercise  35.  If  22,400  yds.  of  yarn  weigh  1  lb.,  what  counts 
would  represent  this  weight  and  length  in  cotton,  woolen  run, 
worsted,  linen,  and  grain  woolen? 

Woolen  yarns  are  usually  designated  double  and  twist  yarns. 
Thus,  6  run  black  and  white  D.  &  T.  would  mean  that  1  thread 
black  6  run  and  1  thread  white  6  run  has  been  doubled  a-nd  twisted 
representing  a  thread  equivalent  to  a  3-run — the  take  up. 

From  the  foregoing  it  will  be  readily  perceived  that  when- 
ever a  certain  length  of  yarn  is  given  together  with  its  weight  (or 
other  data  sufficient  to  obtain  these  two  important  factors)  the 
counts  of  yarn  in  any  other  denomination  can  easily  be  found. 

Given  a  length  of  67,200  yds.  of  yarn,  the  weight  is  6  lbs., 
what  is  the  count  of  the  yarn  in  worsted? 

Then  67,200  -f-      6  =  11,200  yards  per  lb. 

11,200  -J-  560  =  No.  20  worsted  counts 


DESIGN  TEXTS.  165 


Exercise  36.  Find  the  equivalent  counts  in  2/60  worsted  in 
cotton,  linen,  spun  silk  metric  and  woolen  grain  systems. 

Exercise  37.  Convert  the  following-  into  metric  counts:  No. 
36  worsted,  4^-run  woolen,  50  lea  linen,  25  cotton,  and  No.  60 
woolen  grain. 

Exercise  38.  What  is  the  difference  in  principle  of  counting 
yarns  in  the  woolen  run  denominations  and  the  woolen  grain 
system? 

Exercise  39.  What  is  the  equivalent  counts  in  worsted  of  (a) 
No.  21  metric  yarn  and  (b)  in  metric  of  No.  16  worsted  yarn? 

Exercise  40.  What  is  the  difference  in  designation  of  two  or 
more  ply  spun  silk  yarn  as  compared  with  two  or  more  ply  cotton, 
worsted,  linen,  or  woolen? 

Exercise  41.  If  280  yds.  of  silk  yarn  weigh  13^  drams,  what 
counts  in  worsted  would  represent  this  weight  and  length? 

Exercise  42.  What  is  the  equivalent  count  of  No.  35  English 
worsted  in  metric  counts? 

Exercise  43.     Find  the  denier  counts  of  No.  1000  (yds.  per 

oz.)  tram  silk. 

Three  and  More  Ply  Twists. 

When  two  or  more  single  threads  are  twisted  or  folded 
together  the  result  is  a  heavier  yarn.  It  is  necessary  then  to  find 
the  number  of  hanks  or  skeins  per  lb.  of  the  combined  thread,  but 
it  must  be  understood  that  two  threads  20  yards  long  when 
twisted  together  will  be  much  shorter  than  the  original  two 
threads.  This  can  be  proved  by  twisting  two  threads  together 
of  a  given  length,  weighing  them,  and  again  measuring  the 
twisted  thread,  and  then  again  obtaining  two  threads  of  the 
original  yarn  of  the  exact  length  of  the  twisted  yarn  and  compar- 
ing their  weights,  This  process  is  known  as  finding  the 
equivalent  or  resultant  counts. 

Ply  yarns  composed  of  threads  of  equal  counts.  The  new 
count  is  found  by  dividing  the  given  counts  by  the  number  of  ply 
or  threads  twisted  together,  2-ply  60's  =  No.  30,  written  2/60  or 
2-60;  3-ply  60  =  20,  written  3/60  or  3-60;  4-ply  60  =  15,  written 
4/60  or  4-60. 

Supposing  there  is  no  variations  in  the  take  up  of  the  size  and 
length  of  each  yarn  during  twisting,  equal  length  of  each  material 
will  be  required. 

It  very  often  occurs  in  fancy  novelty  yarns  that  threads  of 
unequal  thickness  are  twisted  together.     If  a  No.  60  thread  and  a 


166  DESIGN  TEXTS. 


No.  40  thread  are  twisted  tog-ether,  the  count  of  the  doubled 
thread  will  not  be  the  same  as  if  two  threads  of  No.  50  has  been 
twisted. 

For  the  purpose  of  illustrating-:  When  60  hanks  of  60  worsted 
are  used,  60  hanks  of  40  worsted  will  also  be  used,  and  when  these 
have  been  twisted  together  we  shall  have  only  60  hanks;  but  60 
hanks  of  the  former  count  weigh  1  lb.,  while  60  hanks  of  the  latter 
\y<z  lbs.,  consequently  the  60  hanks  of  twisted  threads  equal 
2.5  lbs. 

The  above  may  be  stated  thus: — 

Rule  16.  The  product  of  the  given  counts,  divided  by  their 
sum,  equal  the  new  count  of  twisted  yarn. 

60  x  40        2400 

=  —  No.  24 


60      40  100 

Some  allowance  must  be  made  for  take  up  or  contraction  in 
twisting,  but  this  will  vary  with  the  number  of  turns  per  inch  in 
the  yarn,  and  the  diameter  of  the  threads  is  a  factor  that  must  be 
considered  when  figuring  for  shrinkages. 

Take  up,  contraction  and  shrinkages  will  not  be  taken  into 
account  in  these  examples. 

Rule  17.  When  three  or  more  unequal  threads  are  twisted 
together,  the  counts  of  the  resulting  twist  thread  may  be  found 
by  selecting  the  highest  count  and  divide  it  by  itself  and  each  of 
the  given  counts;  the  quotient  in  each  case  will  then  represent 
the  relative  weight  of  each  thread  in  lbs.;  then  divide  the  highest 
count  by  the  sum  of  the  quotients,  and  the  answer  will  equal  the 
new  count. 

Example.  Find  the  counts  of  a  3-ply  thread  composed  of  one 
thread  each  of  20's,  30's,  and  60's  cotton. 


60  -=-  6  =>  No.  10' s  new  count 


6 

Exercise  44.  Find  the  counts  of  a  3-ply  thread  composed  of 
one  thread  each  of  24's,  32's,  and  30's  worsted. 

It  is  obvious  that  when  threads  are  twisted  together  composed 
of  different  materials  it  will  be  necessary  to  first  reduce  all  to  the 
denomination  of  the  yarn  system  in  which  it  is  required. 


60  - 

i-60  =  l 

60  n 

30  —  2 

60  - 

=-  20  =  3 

DESIGN  TEXTS.  167 


Suppose  a  compound  twist  Hi  read  is  made  up  of  1  thread  of 
24's  black  worsted,  1  thread  of  16  red  cotton,  and  1  thread  8 
green  cotton.     Find  the  equivalent  counts  in  worsted. 

840  x  16  =  13440    :    560  —  24  worsted 
840  x    8=    6720    :    560=12 

24     •     24  =  1 

24  -*-  24  —  1  24    :    4  =  6 

24         12  =  2 


What  would  be  equal  in  a  single  woolen  thread   to  a  3-ply  yarn 
composed  of  No.  10.5-run  woolen,  No.  20's  cotton,  and  No.  30's 

worsted? 

840  x  20  =  16800  -5-  1600  10.5 
560  x  30  =  1680  -5-  1600  10.5 
10.5  4-  3  =  No.  3.5  run  woolen 

Exercise  45.  If  a  thread  of  20's  and  a  thread  of  40's  single 
worsted  be  twisted  together  what  will  be  the  resultant  counts? 

Exercise  46.  What  would  be  the  resultant  counts  of  (a)  30's 
and  60's  cotton  twisted  tog-ether,  (/>)  of  30's  and  60's  linen  twisted 
together,  and  (c)  of  30's  and  60's  worsted  twisted  together? 

Exercise  47.  A  3-ply  thread  is  made  by  twisting-  the  follow- 
ing yarns:  1  thread  10^-run  woolen,  1  thread  30's  worsted,  1 
thread  20's  cotton.  What  would  be  the  equivalent  counts  of  the 
compound  thread  in  (a)  single  cotton,  (/>)  woolen  cut,  (c)  a  single 
worsted,  and  (d)  a  woolen  run. 

Exercise  48.  Give  the  resulting  counts  of  36's,  45's,  and  54's 
worsted  yarn  twisted  together. 

Exercise  49.  How  many  hanks  would  there  be  in  1  lb.  of 
2-ply  yarn  made  by  twisting  1  thread  of  32's  cotton  and  1  thread 
44's  cotton  together? 

Exercise  50.  Given  36  metric  cotton  count,  find  the  equiva- 
lent counts  when  twisted  with  a  60/2  spun  silk,  the  answer  to  be 
in  American  cotton  counts. 

Exercise  51.  What  would  be  the  resulting  counts  in  spun 
silk  of  30's  worsted  and  20/2  spun  silk  twisted  together?    ' 

Exercise  52.  Find  the  equivalent  counts  of  20's,  32's,  and 
50's  worsted  twisted  together. 

Exercise  53.  A  thread  is  composed  of  2  threads  40's  worsted 
and  1  thread  80/2  spun  silk.     Find  the  equivalent  counts  in  cotton. 

Exercise  54.  Find  the  resulting  counts  ol"  70's,  60's,  40's, 
and  20's  cotton  twisted  together. 


168  DESIGN  TEXTS. 


Exercise  55.  Twist  together  a  2/100  metric  cotton  with  a 
No.  78  American  cotton  count.  Find  the  equivalent  count  in 
American  worsted. 

Exercise  56.  Find  the  resulting-  count  of  No.  50's  and  No.  70 
metric  worsted  twisted  with  No.  30  and  No.  40  American  spun 
silk. 

Exercise  57.     How   many   yards   in    1  lb.   hank    of    English 
cotton  of  the  twist  composed  of  No.  50  and  No.  70  metric  cotton? 
Fancy  and  Novelty  Yarns. 

Novelty  yarns,  such  as  Knop,  Spiral,  Loop,  Corkscrew,  Chain, 
etc.,  are  made  from  various  lengths  of  thread,  and  consequently 
the  previous  rules  in  all  cases  will  not  apply.  If  there  is  no 
variation  in  lengths  the  same  number  of  hanks  will  be  required  of 
each  kind  of  yarn,  but  when  lengths  vary  the  counts  of  the 
twisted  threads  will  also  vary  according  to  the  several  modifica- 
tions of  take  up  in  the  material  used. 

If,  for  example,  we  wish  to  make  a  fancy  yarn  from  three 
different  counts  of  yarn,  say  No.  40's,  No.  30's,  and  No.  20's 
cotton,  the  take  up  in  each  case  being  equal,  what  length  and 
weight  of  each  material  is  necessary? 

Rule  18.  First  find  the  necessary  number  of  lbs.  of  each 
yarn  to  give  equal  length  (without  take  up),  select  the  highest 
count  from  one  of  the  given  counts,  divide  this  highest  count  by 
the  count  of  each  of  the  others,  and  the  result  will  equal  the  rela- 
tive weight  required  of  each. 

40  -=-  40  =  1  lb. 

(A)  40  -=-  30  =  VA 
40  -=-  20  =  2 

The  respective  weights  of  the  yarn,  multiplied  by  their 
counts,  will  give  the  required  number  of  hanks  of  each. 

1  lb.   x  40  =  40  hanks 

(B)  VA      x  30  =  40      „ 

2  x  20  =  40      ,, 

All  this  is  obvious,  that  is,  if  we  require  a  certain  length  of 
twist  the  yarns  must  be  of  the  same  length  whatever  the  counts; 
but  when  the  take  up  varies  the  conditions  are  more  or  less 
complicated. 

A  novelty  yarn  is  made  by  twisting  2  threads  of  No.  40  red 
cotton,  1  thread  of  No.  30  green  cotton,  and  1  thread  No.  20  black- 
cotton,  and  the  relative  lengths  of  material  used  are  7  in.,  5  in.,  and 
4  in.  respectively.  Find  the  count  of  the  combined  thread.  The 
last  thread  is  straight,  or  1 00 9i . 


DESIGN  TEXTS.  169 


First,  find  the  take  up  of  each  yarn  by  dividing-  each  relative 
leng-th  by  the  straight  or  100%  thread. 

No.  40's  =  7  h-  4  =  1^   take  up 

(C)  30      =  5  -=-  4  =  \%      „     „ 

20      -=  4  -4-  4  =  1  „     ,, 

The  number  of  hanks  of  each  (obtained  by  rule  A  and  B), 
multiplied  by  take  up  (obtained  by  rule  C),  will  give  the  number 
of  hanks  of  the  respective  yarns  necessary  for  the  twist  yarn. 

40  x  \%  =  70  hanks  of  No.  40 

40  x  IK   =  70       ,,         ,,  No.  40 

40  x  1%  —  50       „         ,,  No.  30 

40  x  1       =40       ,,         ,,  No.  20 

And  these,  divided  by  their  relative  counts,  will  give  the  weight  of 

each. 

70  hanks  -f-  40  =  1.75  lbs. 
70       ,,        -=-  40  =  1.75    ,, 
50       ,,        -s-  30  =  1.66    „ 
40       „        -*-  20  =  2.00    ,, 

7.16    ,, 

The  number  of  hanks  necessary  for  equal  leng-th,  divided  by 

the  sum  of  their  weights,  will  g-ive  the  count  of  the  combined  or 

resultant  thread. 

40  -f-  7.16  =  5.58  count. 

To  prove,  find  the  length  of  each  yarn  in  one  hank  of  the 
novelty  yarn  thus: 

7  in.  No.   40's  =  840  x  \%  =  1470  yards 

7  in.  No.  40      =  840  x  1%  =  1470      ,, 

5  in.  No.  30      =  840  x  \%  =  1050      ,, 

4  in.  No.  20      =  840  x  1  =  840      „ 

The  weight  of  each  being- 
No.  40  =  1470  x  7000  -  40  x  840  =  306.25  grs. 
40  =  1470  x  7000  -f  40  x  840  =  306.25     ,, 
30  =  1050  x  7000  -H-  30  x  840  =  291.66     ,, 
20  =     840  x  7000  -f  20  x  840  =  350.00     ,, 


1254.16     „ 
If,   therefore,   1   hank  of    novelty   yarn   weighs    1254.16    the 
counts  will  be  7000  -f-  1254.16  =  5.58  counts,  the  same  count  as 
g-iven  in  the  above  example. 

Exercise  58.  A  loop  yarn  is  composed  of  2  threads  of  2/32 
white  cotton  and  1  thread  of  24's  red  worsted ;  2  yards  of  worsted 
are  used  to  each  yard  used  of  2/32  cotton.  Find  how  many  hanks 
per  lb.  in  worsted  counts  of  the  loop  or  compound  thread. 


170  DESIGN  TEXTS. 


Exercise  59.  A  novelty  yarn  is  made  up  of  2  threads  2/80 
white  cotton,  2  threads  1/40  red  cotton,  and  2  threads  of  2/100 
black  cotton,  the  relative  lengths  of  material  used  being-  8  in.,  9  in., 
and  4  in.,  respectively.  The  4  in.  thread  is  the  finished  length. 
Find  the  count  of  the  compound  thread. 

Exercise  60.  A  loop  yarn  is  composed  of  2  threads  of  No. 
24's  lustre  worsted,  1  thread  of  2/40  red  cotton,  and  1  thread  No. 
8's  green  cotton.  The  relative  lengths  of  material  used  are  24  in., 
12  in.,  and  10  in.,  respectively,  and  these  produce  9  ins.  of  finished 
loop  yarn.     Find   the  resultant   counts  in  cotton. 

Exercise  61.  A  novelty  yarn  is  made  up  of  2  threads  No. 
2/48's,  2  threads  1/35's,  and  2  threads  2/60  all  metric  cotton. 
The  relative  lengths  of  material  used  are  15  c  m,  1  d  m,  and 
8  cm,  respectively,  and  these  produce  7  c  m  of  loop  yarn.  Find 
the  resultant  counts  in    American  cotton  system. 

Average  Counts. 

When  average  counts  are  required,  it  is  assumed  that  the 
threads  are  contiguous  in  the  woven  fabric  and  retain  their 
respective  individualities,  c.  g.,  when  two  or  more  threads  of 
various  sizes  are  used  side  by  side  in  the  same  fabric,  it  is 
frequently  necessary  and  advantageous  to  determine  the  average 
counts  of  these  threads,  that  is,  the  count  of  the  threads  which 
will  represent  the  same  weight  and  length  for  the  combined 
number  of  several  yarns  employed  in  the  given  woven  fabric. 
Suppose  a  cloth  is  woven  with  yarn  of  the  same  material  but 
with  yarn  of  different  counts,  e.  g.,  a  cloth  is  woven  with  2  threads 
of  60's  cotton  and  1  thread  of  20's  cotton.  What  is  the  average 
count? 

Rule  19.  Multiply  the  high  count  by  the  number  of  threads 
of  each  count  in  one  repeat  of  the  pattern. 

60  x  2  =  120  hanks 
60  x  1  =     60       ,, 

Divide  each  product  separately  by  the  given  counts 

120  ■—  60  =  2  lbs 
60  -r-  20  =  3    ,, 

180  5    ,, 

Divide  sum  of   these    quotients  into   the  total   number  of  hanks 

180  —-  5  =  36  average  counts 

The  answer  equals  the  average  counts. 


DESIGN  TEXTS.  171 


Rule  20.  To  find  the  average  counts  when  any  number  of 
thready  of  different  counts  are  used  in  the  same  cloth. 
Divide  the  product  of  their  counts  by  the  sum  of  the  unequal 
counts,  then  multiply  by  the  number  of  threads  in  one  rppeat 
of  the  pattern.     The  answer  equals  the  average  counts. 

A  sample  is  composed  of  1  thread  of  black  No.  16's  cotton 
and  1  thread  of  white  No.  40's  cotton.     Find  the  average  counts 
First  method. 

40  x      1  =  40 
40  x      1  =  40 

80 
40  -f-  40  =  1. 
40  ^  16  =  2.5 


Second  method. 


80  3.5 

80  -:-  36  =  22?85  average  counts 

40  x  16        640 


16  +  40  56 


—  =  11?  2-ply  yarn 


This  represents  when  the  threads  are  made  into  a  compound 
thread  and  ,f  made  from  equal  counts  of  yarn,  the  average 
would  be  22  6/7.  aicrage 

The  threads  are  laid  side  by  side  in  the  pattern  and  each 
one  retains  its  mdividuality,  therefore,  the  averse  weight  of  the 

threads  ,s  half  of  the  compound   thread  or  double  the  counts 
A  pattern  ,s  composed  of    2  threads  black   cotton  No    40's 
and  1  thread  red  No.   16  cotton.     Find  the  average  counts. 

40  x  2  =  80 
40  x  1  =  40 

120 

80  -f-  40  =  2. 
40  -s-  16  =  2.5 

4.5 
120  h-  4.5  =  26.66  average 


40 


40  =  1.0 


40  ~   40  =  1.0 

40  -s-  16  =  2.5 

4.5 
40  ~  4.5  =  8.88  x  3  =  26.64  average. 


172  DESIGN  TEXTS. 


A  pattern  is  composed  of  4  threads  of  white  No.  80  cotton, 
2  tereads  black  No.  40  cotton  and  1  thread  red  No.  16  cotton. 
Find  the  average  counts. 

80  ~  80  =  1  x  4  threads  —  4 
80  -5-  40  =  2  x  2         ,,  =4 

80  ^16  =  5x1         ,,  =5 

7  13 

80  x  7         560 


=  =  43 ''3   average  counts. 

13  13 

Proof.  Find  the  weight  of  hank  of  each  count  given,  then 
find  the  weight  of  an  average  hank  with  the  threads  in  the 
proportion    given,  then    find  what  would  be  the    counts  of  that 

weight. 

1  hank  of  80's  =  7000  -e-  80  =     87.5  grains. 

1     (J        ,,  40's  =  7000  -=-  40  =  175.0 

1  ,,   ,,  16's  =  7000  -5-  16  =  437.5 
80  =  87.5  x  4  =  350.0  grains. 
40  =  175.0  x  2  =  350.0   ,, 
16  =  437.5  x  1  =  437.5   ,, 


1137.5 


1137.5  -r-  7  =  162.5  grains  average. 
7000  grs.  -=-  162.5  =  43 %   average  counts. 

Exercise  62.  A  pattern  is  composed  of  4  threads  of  80's 
black  worsted,  3  of  60  white  and  1  of  16's  blue  worsted.  Find 
the  average  count. 

Exercise  63.  Find  the  average  counts  of  a  cloth  made  al- 
ternately with  1   thread   16's  and   1  thread  32's  worsted. 

Exercise  64.  A  cloth  is  woven  with  1  pick  No.  24's  worsted 
and  1  pick  No.  24's  cotton.     What  is  the  average  count  in  woolen? 

Unknown  Count  in  a  Compound  or  Twist  Thread. 

Occasionally  it  happens  that  a  manufacturer  or  spinner  has 
given  to  him  the  counts  of  a  novelty  or  fancy  twist  yarn,  also 
one  or  more  of  the  threads  which  go  towards  its  composition. 
It  then  becomes  necessary  to  find  the  size  of  the  unknown  thread 
which,  together  with  the  counts,  make  the  required  compound 
twist  yarn. 

To  find  the  required  counts  of  a  single  yarn  to  be  twisted 
with  another,  the  counts  of  which  is  already  known  to  produce  a 
compound  or  twist  thread  of  a  known  count. 


DESIGN  TEXTS.  173 


Rule  21.  Multiply  the  counts  of  the  known  single  thread 
by  the  counts  of  the  compound  or  twist  thread  and  divide  the 
product  by  the  known  single  thread  minus  the  known  counts 
of  the  compound  thread.  The  quotient  will  be  the  counts  of  the 
required  single  thread. 

Example:  Having  some  yarn  in  stock,  the  counts  of  which 
is  1/30  cotton,  and  wishing  to  produce  a  compound  or  twist  thread 
equal  to  a  1/12  cotton.     Find  the  count  of  the  required   thread. 

30  x  12        360 

= =  20's  required  thread. 

30  -   12  18 

Proof  30  x  20        600 

= =  12  twist  or  compound  thread. 

30  +  20  50 

Exercise  65.  Having-  40's  cotton  yarn  and  wishing  to  twist 
it  with  another  yarn  to  make  it  equal  to  24's.  Find  count  of 
required  thread. 

Exercise  66.  What  counts  should  be  twisted  with  20's 
worsted  to  make  it  equal  to  No.   12's  cotton? 

Exercise  67.  What  counts  woolen  should  be  twisted  with 
a  2/60  cotton  to  make  a  twist   thread  equal  to  1/20  worsted? 

Exercise  68.  Required  the  counts  of  a  cotton  thread  to  be 
twisted  with  a  No.  80's  cotton,  to  produce  a  twist  or  compound 
thread  equal  to  a  2/60  cotton. 

Exercise  69.  What  will  be  the  count  of  a  single  worsted 
thread  to  twist  with  a  No.  36 's  worsted  to  produce  a  compound 
thread  equal  to  a  No.  12's  worsted9 

Exercise  70.  Find  what  counts  twisted  with  No.  24  cotton 
would  produce  a  compound  thread  equal  to  a  No.  9  cotton. 

Exercise  71.  What  will  be  the  run  of  woolen  thread,  to  twist 
to  a  8  run,  to  produce  a  double  and   twist  thread  equal  to  a  6  run? 

Two  known  single  threads,  a  third  thread  is  required  to 
produce  a  known  compound   thread. 

In  the  cotton  trade,  worsted  and  silk  threads  are  twisted 
to  cotton. 

In  the  worsted  trade,  cotton  and  silk  threads  are  twisted  to 
worsted. 

In  the  woolen  trade,  cotton,  silk  and  worsted  threads  are 
twisted  to  woolen. 

For  the  cotton  trade,  transfer  the  worsted  and  silk  to  cotton 
counts. 


174  DESIGN  TEXTS. 


For  the  worsted  trade,  transfer  the  cotton  and  silk  to  worsted 
counts. 

For  the  woolen  trade,  transfer  the  cotton,  silk  and  worsted 
to  woolen  numbers. 

Rule  22.  First  find  the  size  of  twist  of  the  two  known 
threads  then  proceed  as  in  previous  examples. 

Find  the  counts  of  the  third  thread  to  twist  with  a  1/30's 
cotton  thread,  and  a  1/60  cotton  thread  to  produce  a  3-ply 
thread  equal  to  a  No.   12  cotton. 

60  x  30         1800 

=  =  20 's  cotton 

60  +  30  90 

20  x  12        240 

= =  30's  required. 

20-12  8 

Proof.     3-ply  twist,  Nos.  60,  30,    30. 


60  - 

60  =  1 

60  - 

-  30  =  2 

60  - 

-  30  —  2 

60  —  5  =  12's  3-ply  thread. 


5 

Find    the   size    of    a  worsted   thread    to    twist   with  a  1/30's 

cotton  to  produce  a  2-ply  thread  equal  to  a  2/30  cotton. 

32o  —  tt,  cotton. 

30  x  15        450 

=  =  30's  cotton. 

30  -   15  15 

25200 

840  x  30  =  =  45's  required  worsted  thread. 

560 

Exercise  72.  Find  the  size  of  a  single  worsted  yarn  required 
to  produce  with  an  8-run  woolen  a  compound  thread  equal  to 
a  6-run  woolen. 

Exercise  73.  Required  the  count  of  a  spun  silk  thread  to 
twist  with  a  No.  20  cotton  and  No.  30  worsted  to  produce  a  3- 
ply  thread  equal  to  a  3^-run  woolen. 

Exercise  74.  A  loop  yarn  has  a  resultant  count  of  No.  4's 
cotton.  It  is  composed  of  2  threads  of  2/28  black  cotton  and 
1  thread  grey  worsted,  there  are  2  yards  of  this  last  thread 
used  to  each  yard  of  cotton.     Find  the   counts  of   the  worsted. 

Constants. 

In  figuring  textiles  there  are  many  numbers  which  constantly 
repeat  themselves,  thus  making  it  desirable  to  dispense  with  some 
of  them  by  cancelling  one  into  the  other,  for  instance: 
7000  -s-  840.     7000  ~  1600.     7000    -^560,  etc.,  etc., 


DESIGN  TEXTS.  175 


and  these  numbers  used  in  the  reverse  order  and  one  multiplied 
or  divided  into  one  or  the  other  is  of  very  frequent  occurance. 
To  simplify  these  calculations  the  following-  constants  have  been 
worked  out. 

LONG    MKTHOD.  FIRST    CONSTANT.   SKCOND   CONSTANT. 

Woolen  7000   -h  1600  =  4.375  -+-  36  =  .1215  + 

Worsted  7000  -+-     560  =  12.5       -f-  36  =  .3472  + 

Cotton  7000  ^-     840  =  8.33     ^-  36  =  .2314  -f 

Linen  7000  -r-     300  —  23.33     -f-  36  =  .648     + 

Woolen  1600  -i-  7000  =  .228  + 
Worsted  560  -f-  7000  =  .08 

Cotton  840  -*■  7000  =  .12 

Linen  300  -f-  7000  =  .043 

It  is  very  frequent  that  the  counts  of  a  very  small  portion 
of  yarn  is  required,  and  to  obtain  the  necessary  data  a  pair  of 
fine  grain  scales  is  one  of  the  most  used  and  needful  apparatus 
in  a  manufacturer's  and  designer's  office. 

Suppose  that  in  a  sample  of  woolen  cloth  there  are  40  threads 
per  inch  and  the  sample  is  2  inches  long,  then  there  would  be 
40  x  2  =  80  inches  of  yarn  and  these  threads  weigh  2.5  grains. 
What  is  the  run  of   the  yarn? 

Rule  23.  Multiply  the  number  of  inches  of  yarns  by  7000 
(the  grains  in  1  lb.)  and  divide  by  the  weight  (in  grains)  of  the 
yarn  x  the  standard  number  x  36.  The  answer  will  be  the  run 
of  the  yarn. 

80  x  7000 

=  3.88  run. 

2.5  x  1600  x  36 

Example.  If  a  sample  of  cotton  cloth  has  40  warp  threads 
in  one  inch  and  the  sample  is  only  1  inch  long  and  the  yarn 
weighs  2.5  grains.      What  is  the  count? 

40  x  7000 

=  No.   3.7037 

2.5  x  840  x  36 

Explanation. 

As  there  are  7000  grains  in  1  lb.  and  840  yds.  of  No.  1  yarn 
in  1  lb.  7000  -r-  840  gives  us  the  number  of  grains  in  1  yd.  of 
No.  1  yarn,  or  8  y$  grains.  The  constants,  as  we  have  40  warp 
threads  per  inch,  8  }'i  grains,  multiplied  by  40  gives  us  the 
weight  in  grains  of  one  running  yard  of  No.  1  warp,  1  inch  in 
width  or  333  l/i  grains. 

As  1  in.  x  1  in.  of  warp  weighs  2.5  grains,  one  running  yd.  1  in. 
wide  would  weigh   2.5  x  36  =  90  grains.     Now  as  90  grains  is  the 


176 


DESIGN  TEXTS. 


actual  weight  of  the  yarn   and  333    )s    grains   the  weight  of   an 

equal   quantity   of   No.    1    yarn,    the    number   of   our   warp   yarn 

would  be  the  number  of  times  the  weight  of  the  No.  1  yarn  is 

greater  than  our  yarn,  or 

333.33  -=-  90  =  3.7037  cotton  counts. 

Example:     Supposing  12  threads  worsted  were  obtained  each 

3  inches  long  ( 1  yard)  and    these  weigh    1   grain,   what   are   the 

counts? 

7000 

=  12.5  grains,  the  weight  of  1  yard  of  No.   1  worsted. 

560 

Therefore,  if   1  yd.  of  yarn  weighs  12  %  grains,    the  counts  are 

l's  or  if  2,  3,   4  or  5  yards  weigh  12  >2   grains,    the  counts  are 

2,  3.  4  or  5's  respectively,  or  the  number  of  yards  of  yarn  which 

weigh  12  1/2  grains  equal  the  counts  in  worsted. 

Then  the  counts  in  the  above  example  would  be  No.  12  ^, 
because   12  Yi   yards  would    be   required    to  weigh    12  >2    grains. 

The  use  of  the  constants. 

If  48  inches  of  woolen  yarn  weights  2  grains  what  is  the  run? 

Long  riethod  Woolen. 


48  x  7000 
2  x  1600  x  36 

1600 

2 

3200 
36 

19200 
9600 

115200 


48 
7000 

336000 


FIRST    CONSTANT. 

48  x  4.375 


2  x  36 


115200)336000.00(2.916  run,  say  2.9  run 
230400 


1056000 
1036800 

192000 
115200 


768000 
691200 

768000 
691200 

76800 

4.375 
48 

35000 
17500 


36 


72)210.000(2.916 
144 


660 
648 

120 

72 

480 
432 


48 


DESIGN  TEXTS.  177 


SECOND    CONSTANT. 

48  x  1215  .1215 
48 

2  

9720 
4860 

2)5.8320 

2.916 

CANCELLATION. 

24 

f$   x  .1215  .1215 

24 

% 

4860 
2430 

2.9160 
If  75  inches  of  worsted  yarn  =  2.5  grains,  what  is  the  count? 

LONG    METHOD. 

75  x  7000 
=  10.416 

2.5  x  36  x  560 

FIRST    CONSTANT. 

75  x  12.5 

=  10.416 

2.5  x  36 

SECOND    CONSTANT. 

75  x  .3472 
=  10.416 

2.5 

CANCELLATION. 
30 

70  x  .3472 

=30x  .3472  =  10.416 

If  96  inches  of  cotton  yarn  =  2  grains,  what  is  the  count? 

LONG    METHOD. 
96   X   7000 
=   11.10 

2  x  840  x  36 

FIRST    CONSTANT. 
96   X  8.33 

=   11.10 

2  x  36 

SECOND    CONSTANT. 
96   X    .2314 
—   11.10 

2 

CANCELLATION. 
48 
9$    X    .2314 

=  48  x  .2314  =  11.10 


178  DESIGN  TEXTS. 


Work  out  each  exercise  by  all  the  four  methods. 

Exercise  75.  If  the  warp  yarn  in  1  inch  x  1  inch  of  woolen 
cloth  weighs  2  grains,  and  there  are  60  threads  per  inch,  what  is 
the  run  of  the  yarn? 

Exercise  76.  If  44  inches  of  cotton  yarn  =  1  y2  grains,  what 
is  the  counts  of  the  yarn? 

Exercise  77.  If  60  inches  of  worsted  yarn  =  1.2  grains,  what 
is  the  counts  of  the  yarn? 

Exercise  78.  If  1  sq.  inch  =  1.9  grains  38  threads  per  inch 
in  the  warp  worsted  =  1  grain,  30  picks  per  inch  =  .9  grains, 
15  inches  cotton  =  .3  grains,  15  inches  worsted  =  .6  grains,  what 
are  the  counts  of  each  yarn? 

Exercise  79.  Fifty  inch  print  cotton  warp=. 8 grs.  80  inch  blue 
cotton  warp  =  1.4  grs.  100  inch  purple  cotton  filling  =  1.2  grs. 
140  inch  yellow  spun  silk  =  .5  grs.  90  inch  brown  worsted  fill- 
ings 1.7  grs.     What  are  the  counts  of  each  yarn? 


SPECIFICATIONS  FOR  WORSTED  AND 
WOOLEN  FABRICS. 

(a)  Method  of  figuring  texture  and  weight  of  finished 
cloth. 

The  texture  of  a  finished  cloth  is  governed  by  the  diameter 
of  the  finished  yarn  and  the  weave  used  to  give  the  desired 
effect  to  the  fabric.  When  the  counts  of  the  finished  yarn  are 
unknown,  the  counts  of  the  yarn  in  the  loom,  are  multiplied  by  the 
total  warp  or  filling  shrinkage  percentage.  This  will  give  the 
required  counts  of  the  finished  yarn.  If  the  counts  of  the 
finished  yarn  are  known,  the  process  of  finding  the  texture  of 
the  finished  cloth  is  as  follows: 

Example  1.  A  fabric  is  required  2/36  worsted  finished  warp 
and  filling  counts,  weave  cassimere  twill.  Warp  dressed  black 
6,  red  2,  black  12,  white  2,  black  6  =  28  threads  in  pattern. 
Filling  solid  black.  Find  the  texture  of  the  finished  cloth,  weight 
of  finished  warp  and  filling  in  one  yard  of  finished  cloth. 

First  find  the  texture  of  the  finished  cloth.  Multiply  the 
finished  counts  by  the  standard  number  of  the  given  yarn,  and 
extract  the  square  root  of  the  result.     This  will  give  the  number 


DESIGN  TEXTS.  179 


of  smooth,  solid  cylinders  of  the  same  diameter  as  the  yarn  in 
one  inch.  The  fibres  of  the  several  varieties  of  yarn  extend 
more  or  less  from  the  yarn,  the  amount  varying  according-  to 
the  quality  of  the  yarn  or  turns  per  inch.  For  this  reason  a 
certain  percentage  must  be  allowed  for  the  decrease  in  the 
number  of  threads  that  will  lay  side  by  side  in  one  inch.  Upon 
examination  of  a  wool,  worsted,  cotton  or  silk  thread,  it  may  be 
seen  that  the  wool  yarn  is  the  roughest,  worsted  a  trifle  smoother 
than  wool,  cotton  smoother  than  worsted  and  the  silk  thread 
comparatively  smooth  and  resembling  the  solid  cylinder  used  as 
the  basis  of  calculation.  The  approximate  percentages  allowed 
are  wool  16,  worsted  10,  cotton  7  and  silk  4. 

The  number  of  threads  of  2/36  worsted  that  will  lay  side 
by  side  in  one  inch  is  found  by  the  following   formulae: 

A  =  single  18.     18  x  560  —  10080.     VluoSo  =  100.39 
100.39  cylinders  side  by  side  in  one  inch. 

100.39  —  10%  =  90.36  threads  of  &  side  by  side  in  one  inch 

Dividing  this  result  by  2  gives  the  number  of  threads  per  inch 
of  2/36  worsted  in  plain  weave. 

90.36  -=-  2  =  45.18  threads  plain  weave,   finished  cloth 
This   result   multiplied  by  the   number  of  units  of  plain  weave 
and    the  product  divided    by  the  number   of    units  in  an   equal 
number  of  threads  of  the  required  weave  will  give  the  number 
of  threads  per  inch  of  the   required  weave   in  finished  cloth. 
Units  in  4  threads  of  plain  weave,  8 
Units  in  4  threads  of  cassimere  twill,  6 
45.18  x  8  -r-  6  =  60.24  threads  per  inch  cassimere  twill. 

The  general  rule  is  to  use  the  nearest  whole  number  for  the 
threads  per  inch.  In  this  case  the  threads  per  inch  for  a  finished 
fabric  2/36  worsted  finished  counts,  cassimere  twill  is  60.  The 
number  of  picks  per  inch  is  approximately  the  same. 

The  weight  of  finished  warp  and  filling  in  one  yard  of  cloth 
is  found  by  the  regular  analysis  method.  Multiply  the  counts 
by  the  standard  number  to  find  the  number  of  yards  in  one 
pound. 

Dividing  the  number  of  yards  of  each  color  of  warp  or  filling 
in  one  yard  of  finished  cloth  by  this  length  gives  the  weight  of 
each  color  in  pounds.  To  find  the  weight  in  ounces  multiply 
the  result  or  weight  in  pounds  by  16  the  number  of  ounces  in 
one  pound.  The  fabric  is  56  inches  wide  finished,  inside  sel- 
vedges, 60  threads  and  60  picks  per  inch  finished.     To  find  the 


180  DESIGN  TEXTS. 


number  of  yards  of  warp  or  filling-  in  one  yard  of  the  finished 
fabric  multiply  the  width    by  the   number   of   threads   or   picks 

per  inch. 

60  x  56  =  3360  }-ards  of  finished  warp. 
60  x  56  =  3360  yards  of  finished   filling. 

To  find  the  yards  of  each  color  divide  the  number  of  threads 
in  warp  or  picks  in  filling-  by  the  threads  or  picks  in  a  pattern. 
This  will  give  the  number  of  patterns.  The  number  of  patterns 
multiplied  by  the  threads  or  picks  of  each  color  in  a  pattern 
will  give  the  number  of  yards  of  each  color  in  oue  yard  of  cloth. 

3360  -f-  28  =  120  patterns  in  warp. 
Filling  solid  black. 
Warp.  Black       24     24  x  120  x  16  -  18  x  560  =     4.571  oz. 


Red  2       2  x  120  x  16 

White         2       2  x  120  x  16 


18  x  560  =       .381  oz. 
18  x  560  =       .381  oz. 


5.333  oz. 
Filling.     Black  solid.     3360  x  16  —  18  x  560  =  5.333  oz. 

Weight  of  one  yard  finished  cloth  10.666  oz. 

Shrinkages 

Woolen  and  worsted  fabrics  are  figured  by  shrinkage  per- 
centages. Before  commencing  the  subject  of  figuring  weights 
or  counts  of  yarn,  the  principles  of  shrinkag-e  and  their  effect 
upon  the  fabric  during  the  various  processes  of  manufacture 
must  be   understood. 

When  a  warp  is  put  in  the  loom,  or  is  on  the  warp  beam, 
it  is  at  its  longest  length,  and  under  a  certain  amount  of  tension. 
The  warp  counts  are  the  finest  at  this  stage,  and  the  weig-ht 
per  yard  the  lightest.  The  warp  is  interwoven  by  the  filling, 
the  fabric  wound  on  the  cloth  roll  and  taking  from  the  loom. 
During  this  process  the  tension  of  the  loom  has  been  released 
and  the  warp  wrapping-  more  or  less  around  the  filling-  shortens 
the  warp.  The  weight  per  yard  and  the  diameter  of  the  warp 
yarn  have  increased  in  proportion  to  the  weaving-  percen'age. 
These  differences  are  caused  by  what  is  commonly  termed  the 
weaving  percentage.  The  fabric  is  then  subjected  to  the  various 
finishing  processes  which  shrink  the  cloth  in  length,  increase 
the  diameter  of  the  warp  yarn  and  increase  the  number  of  picks 
per  inch.  The  filling  percentage  influences  the  width  of  the 
cloth,  making  the  finished  width  narrower,  and  the  diameter  of 
the  filling  greater  in  the  finished  cloth. 

Total  ivarp  percentage:  Diameter  of  finished  warp  yarn 
increased  from  the  yarn  on  warp  beam,  and  length  of  finished 
cloth  decreased  from  the  dressed  length. 


DESIGN  TEXTS.  181 


Weaving  percentage:  Diameter  of  warp  yarn  in  woven  cloth 
increased  from  yarn  on  warp  beam,  weight  of  woven  cloth  per 
yard  increased,  length  of  woven   cloth   decreased. 

Finishing  percentage :  Weight  per  yard  of  finished  cloth 
and  diameter  of  finished  warp  yarn  increased  from  woven.  Picks 
per  inch  in  finished  cloth   increased   from  woven. 

Filling  percentage :  Diameter  of  filling  yarn  and  threads  per 
inch  in  the  finished  cloth  increased.  Width  of  finished  cloth  de- 
creased  from  woven. 

The  above  are  given  from  loom  to  finished  cloth.  For  finished 
to  loom  the  reverse  is  true. 

Example  2.  378  yards  of  woven  cloth  have  lost  5  ^  ch  in 
weaving,  and  finished  to  321.3  yards  in  length.  Find  the  length 
on  warp  beam,  finishing  and  total  percentages. 

378  yards  of  woven  cloth  represent  a  loss  of  S%%  of  the  original 

length,     100  —  Sy2%  =  94  y2%. 
378  yards  represent  94)4%  of  the  length  on  the  warp  beam. 
378  -J-  .945  =  400  yards  length  on  the  warp  beam. 
Length  of  woven  cloth  378  yards,   finished  cloth  321.3  yards. 
Loss  in  length  378  —  321.3  =  56.7  yards. 
Loss  in  percentage  56.7  -4-  378  =  .15  or  15%  finishing. 
Length  of  warp  on  warp  beam  400  yards,  finished  321.3  yards. 
Loss  in  length  400  —  321.3  —  78.7  yards. 
Loss  in  percentage  78.7  -^400  =  .1967  or  19.67%  total. 
To  prove  the  above  percentages  subtract  both  weaving  and 
finishing  percentages  from  100  and  multiply  the  results. 
100  —  5#   =  94l/2 
100  —  15  =-  85 

.945  x  .85  =■  .80325  or  80.325 
Subtracting    this    result   from  100  should    prove    the    total 

percentage. 

100  —  80.325  =  19.675%  total  warp. 

The  greatest  length  or  width  is  considered  100%  in  shrink- 
age and  all  calculations  for  shrinkage  percentage  are  figured  on 
that  principle. 

The  finishing  percentage  applies  to  the  woven  length,  not 
to  the  length  on  warp  beam  and  accounts  for  the  fact  that  the 
weaving  and  finishing  percentages  added  do  not  equal  the  total 
percentage. 

Example  3.  A  warp  64  inches  wide  in  the  loom  is  55  inches 
wide  finished.     Find  the  percentages  of  take  up  and  shrinkage. 

Finished  width  is  always  inside  selvedges,  and  loom  width 
including  selvedges,  unless  stated  otherwise.     For  that   reason 


182  DESIGN  TEXTS. 


one  inch  for  selvedges  must  be  added  to  the  finished  width  to 
place  both  widths  on  the  same  basis.  55  +  1  =  56  inches  finished 
width. 

64  —  56  =  8  inches  loss,  caused  by  the  filling-,  therefore  filling 
percentage  loss. 

Dividing-  this  loss  by  the  loom  width  will  give  the  shrinkage 
percentage,  or  dividing  by  the  finished  width  will  give  the  take- 
up  percentage.  In  shrinkage  loom  length,  width  or  counts  equal 
100%.  In  take  up  finished  length,  width  or  counts  equal  1007i. 
The  loss  in  width  divided  by  the  loom  width  gives  the  shrinkage 
percentage,  or  the  loss  divided  by  the  finished  width  gives  the 
take  up   percentage. 

8  h-  64  =  I2y2  %  shrinkage.     8  -s-  56  =  14f#>  take  up 

The  method  of  figuring  for  a  finished  cloth,  from  certain 
sizes  of  yarn  on   hand  is  as  follows: 

Example  4.  A  fabric  is  woven  from  4.5  run  warp  5  run 
filling,  56  threads  and  64  picks  per  inch  finished.  Finished  width 
inside  selvedges,  56  inches.  Add  1  inch  for  selvedges.  Per- 
centages warp:  total  17  ^,  weaving  6,  finishing  12^.  Filling  10'/  . 
Reed,  2  in  a  dent.  Weave,  cassimere  twill,  selvedges  plain.  Warp 
250  yds.  long  on  warp  beam.  All  calculations  to  be  figured 
including  selvedges. 

The  requirements  for  the  specifications  are  as  follows  : 

(a)  Run  of  yarn  in  finished  cloth. 

(b)  Threads  and  picks  per  inch  in  loom. 

(c)  Length  of  woven  and  finished  cloth. 

(d)  Weight  of  1  yard  of  finished  cloth. 

(e)  Weight  of  warp  yarn  in  1  yard  on  warp  beam. 

(f)  Weight  of  warp   yarn  in  1  yard  on  cloth  roll. 

(g)  Width  in  loom  and  reed. 

(h)  Weight  of  filling  yarn  in  1  yard  on  cloth  roll, 

(i)  Weight  of  required  length  of  warp  on  warp  beam, 

(j)  Weight  of  required  length  on  cloth    roll, 

(k)  Weight  of  required  length  of   finished  cloth. 

(1)  Number  of  heddles  on  each  harness. 

(a)     Run  of  yarn  in  the  finished  cloth. 

The  given  run  of  warp  is  at  the  warp  beam,  and  for  the 
filling  in  the  shuttle.  To  find  the  finished  warp  counts  multiply 
the  given  run  by  the  total  warp  percentage,  for  both  weaving 
and  finishing  influence  the  size  of  the  original  warp  making  the 
diameter  of  the  finished  yarn  larger,  and  the  number  represent- 
ing the  size  less.     To  find   the  size  of  the  finished  filling  yarn 


DESIGN  TEXTS.  183 


multiply  by  the  filling  percentage,  this  percentage  influencing 
the  size  of  the  yarn  and  acting  in  a  similar  manner  as  the  total 
warp  on  the  warp  yarn. 

4.5  x  .8225  =•  3.701  finished  warp. 

5  x  .90  =»  4.5  finished  filling. 

(b)  Threads  and  picks  per  inch  in  loom. 
The  number  of  threads  per  inch  is  influenced  by  the  filling 
percentage,  the  filling  controlling  the  width  of  the  cloth.  The 
number  of  threads  in  the  loom  will  be  less  than  in  the  finished 
cloth,  therefore,  multiply  the  finished  threads  per  inch  by  the 
filling  percentage. 

56  x  .90  =  50.4  threads  per  inch  in  loom. 
The  finishing  process  controls  the  number  of  picks  per  inch. 
As  the   number  of    picks   per  inch   in  loom    will   be  less  than 
in  the  finished  cloth,  multiply  the  pick  per  inch  in  finished  cloth 
by  the  finishing  percentage. 

64  x  .875  —  56  picks  per  inch  in  loom. 
(c)  Length  of  woven  and  finished  cloth. 
The  length  of  woven  cloth  is  decreased  by  the  weaving  per- 
centage. From  the  woven  to  the  finished  cloth  the  length  is 
decreased  by  the  finishing  percentage.  To  find  the  length  of 
the  woven  cloth  multiply  the  length  on  warp  beam  by  the  weav- 
ing percentage. 

250  x  .94  =  235  yards  length  of  woven  cloth. 
The  length  of  finished  cloth  is  found  by  multiplying  the  length 
of  woven  cloth  by  the  finishing  percentage. 

235  x  .875  =  205.625  yards  length  of  finished  cloth. 
(</)     Weight  of  1  yard  of  finished  cloth  (including  selvedges). 
Width  including  selvedges  57  inches. 
Finished   warp  run,    3.701,  finished   filling  run   4.5,   56 

threads  and  64  picks  per  inch  finished  cloth. 
Warp.         57  x  56  x  16  -s-  3.701  x  1600  =  8.624  ounces. 
Filling.     57  x  64  x  16  -s-  4.5  x  1600      =  8.106  ounces. 

Weight  of  1  yard  finished  16.730  ounces, 

(c)     Weight  of  warp  yarn  in  1  yard  on  warp  beam. 
Width  including  selvedges,  57  inches. 
Loom  run  of  warp  4.5 

Formula.        57  x  56  x  16  -r  4.5  x  1600  =  7.093  ounces. 
(/)     Weight  of  warp  yarn  in  1  yard  on   cloth  roll. 


1S4  DESIGN  TEXTS. 


The  weight  of  warp  in   1  yard  on   cloth    roll  has   increased 

from  warp  in  1  yard   on  warp   beam   according   to   the  weaving 

percentage.     Divide    the    weight  on  warp  beam  by  the  weaving 

percentage. 

7.093  -f-  .94  =  7.545  ounces. 

This  result  may  be  proved  by  using  the  formula  at  (e) 
substituting  the  woven  counts  for  the  loom  counts. 

4.5  x  .94  =  4.23 

57  x  56  x  16  -r-  4.23  x  1600  =  7.546  ounces. 

(j>)     Width  in  loom,  and  reed. 

The  width  in  loom  is  influenced  by  the  filling  percentage, 
and  is  wider  than  in  the  finished  cloth.  Divide  the  finished  width 
including  selvedges  by  the  filling  percentage. 

57  -=-  .90  =  63.333  inches. 

The  total  number  of  threads  in  warp  divided  by  this  result  will 
give  the  number  of  threads  per  inch  in  loom. 

57  x  56  =  3192  -i-  63.333  =  50.4  threads  per  inch. 
This  is   the   same   result  as   found   at   (3)   by   multiplying    the 
number  of  threads  per  inch  finished   by  the  filling   percentage. 
Dividing  the  threads  per  inch  in  loom   by  the  threads  in  a  dent 
gives  the  number  of  dents  per  inch  or  the  reed. 

50.4  h-  2  =  25.2  reed. 

(/*)     Weight  of  filling  yarn  in  1   yard   on  cloth   roll. 

The  width  at  the  reed  is  63  J3  inches.  The  number  of  picks 
per  inch  in  loom  56.  To  find  the  number  of  yards  of  fill- 
ing in  1  yard  on  the  cloth  roll  multiply  the  picks  per  inch  in  loom 
by  the  loom  width.  The  weight  of  filling  yarn  in  1  yard  of  cloth 
on  the  cloth  roll  is  found  by  the  same  principle  as  the  filling 
in  finished  cloth  substituting  loom  counts  for  finished  counts 
and  using  the  number  of  yards  of  filling  found  above. 

56  x  63'/<   x  16  -f-  5  x  1600  =  7.093  ounces. 
Adding  the  weight  of  warp  and   filling  yarn   in   1   yard  of   cloth 
on  cloth  roll  gives   the  weight  of  1  yard. 

7.546  plus  7.093  =  14.639  ounces. 
Dividing    this    weight    by   the   finishing  percentage  (12^)  will 
give  the  weight  after  finishing  the  cloth. 

14.639  -5-  .875  =  16.730  ounces, 
which  proves  with  the  weight  of  1  yard  of  finished  cloth  found 
in  question  (d). 


DESIGN  TEXTS.  185 


(i)     Weight  of  required  length  of  warp  on  warp  beam. 
The  weight  of  warp   yarn  in  1  yard   on   the  warp   beam  is 
7.093  ozs.     Length  of  warp  on  warp  beam  250  yards.     The  weight 
required  is  therefore 

250  x  7.093  or  1773.25  oz.,  or  110  lbs.,   13.25  oz. 
(/)     Weight  of  required  length  on  cloth  roll. 
The  weight  required  on  the  cloth  roll  is  of  the  woven  cloth, 
therefore  the  weight  of  both  warp  and  filling  must  be  considered. 
Length  of  cloth  on  cloth  roll  235  yards.     Weight  of  warp  7.540  ozs. 
Filling  7.093  ozs. 

Warp.       |235  x  7.546  —  1773.31  oz.,  or    110  lbs..  13.31  oz. 
Filling.    235  x  7.093  —  1666.85  oz.,  or  104  lbs.,     2.85  oz. 

Total.     235  x  14.639  =-  3440.16  oz.,  or  215  lbs.,         .16  oz. 
(k)     Weight  of  required  length  of  finished  cloth. 
Proceed  as  in  (/)  using  finished  length  and  weights.     Length 
of  finished  cloth  205.625  yards.     Weight  of  finished  warp  8.624 
oz.,  filling  8.106  oz. 

Warp.         205.625  x  8.624  —  1773.31  oz.,  or  110  lbs.,  13.31  oz. 
Filling.      205.625  x  8.106  =  1666.80  oz .,  or  104  lbs.,    2.80  oz. 

Total.     205.625  x  16.73  =  3440.11  oz.,  or  225  lbs.,        .11 

(/)     Number  of  heddles  on  each  harness. 

Selvedges  are  generally  drawn  in  on  the  front  harnesses. 
As  the  selvedges  on  this  cloth  are  plain  two  harnesses  are  re- 
quired, 56  threads  of  selvedge.  56-^2  =  28  heddles  on  harnesses 
1  and  2.  Body  of  warp  56  inches  wide,  56  threads  per  inch,  weave 
cassimere  or  four  harness.  56x56-^4  =  784  heddles  on  harnesses 
3,  4,  5  and  6. 


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(189) 


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6  HARNESS.        8  PICKS. 


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6  HARNESS.     12  PICKS. 


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(195) 


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6  HARNESS.     18  PICKS. 


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7  HARNESS.      7  PICKS. 


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7  HARNESS.     14  PICKS. 


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7  HARNESS.    28  PICKS. 


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8  HARNESS.      4  PICKS. 


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8  HARNESS.      8  PICKS. 


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8  HARNESS.    8  PICKS. 


99 


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8  HARNESS.     12  PICKS. 


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8  HARNESS. 


16  PICKS. 


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8  HARNESS.    24  PICKS. 


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9  HARNESS.     18  PICKS. 


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JO  HARNESS.        10  PICKS. 


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72 

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73 

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74 

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(211) 


Standard  Weaves  for  Textile  Fabrics. 


10  HARNESS.        20  PICKS. 


DDl 


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hdSq 

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94 

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(212) 


Standard  Weaves  for  Textile  Fabrics. 


JO  HARNESS.        20  PICKS. 


101 

■Expnnnnn 

□DBBODaOUB 
OBBuaBaQCO 

■□QjipncjijGa 
juHDbiaau 
DMOQWiaaaD 
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103 

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106 

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636 


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112 

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113 


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BOBaBTB  ' 
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■  LJLJLJJ 


:oy 


□□JBooBOoa 

!□□□□ 


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121 


"■a 

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n  ■■  -_» 
dbbudbddi 
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126 

dbdddbdbdb 

[  EBB 

BDDDDDBDBa 

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131 

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IODDDOBDBD 


10  HARNESS.        20  PICKS. 


122 

DDDDDBBBBB1 
DBDDBDC 
BDDDDBBBBD 
DDBDDDC  DDB 

DDBDDDDBD 

DDBDOBDD 
BBBBrJBDDDD 
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DBBBBDDDDB 
BDC  DDDDBDC 

DBDDODBDC 

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127 

DBDBBDDBGB 
LB    BB   B 

BDBBBDODBD 
B   DDBBBDO 

i  isbbb  :ddb 

DDGDBBBBG 
BBBBB  ". '.: 

DDDDBBBBB 

1  s  s  ■ 


123 


BDDI 
DDDI 


EBP 


IDBDBDD 
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BBBBB 

BDODBDC 
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BBB   B 

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OBBDDDBBBD 

<  am     BBB 

BDDBBDDDBB 

i  b  I 
bbbddbbddd 
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obobdc  gdbd 

bdddbbbddb 
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128 

ODDDDBBB— 
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B  BBB 

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129 

CDDBDDDDDD 

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DBDDDDDDDD 
DDDDDDDDBD 
DDDDDBDDDD 
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DDDDDDDDDB 
DDDDDDBDDD 


10  HARNESS.        30  PICKS. 


DBDBDDBDD 
DBDBDBDDQ 


134 


DDDI 
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8DB  B  H  J 
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D1DBDBQ 
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JDDDI__ 
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BDBDDDDDBB 
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BB  a  m 
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dooobobbbI 
bbbdbqoddd. 


125 


■  aa  b — 

aZOGGBBBG 
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130 

DBDDBGL 

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B  E-  G 

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IDDDDBB 
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(214) 


Standard  Weaves  for  Textile  Fabrics. 
10  HARNESS.        30  PICKS. 


(215) 


Standard  Weaves  for  Textile  Fabrics. 


J 


U  HARNESS. 


II  PICKS. 


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6 

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8 

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9 


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13 

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14 


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16 


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17 

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18 

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19 

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20 

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21 


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24 


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(216) 


Standard  Weaves  for  Textile  Fabrics. 


J 


U  HARNESS. 


n  picks. 


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33 

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37 


26 

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27 


30 


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14 


■§■■■! 

■wOter  ■  H 


.  ■  BBUBOOBO 
OOBOOBOBBOB 
'DBDDBD 


_  odoodl 
ooooobbooqo 

— IBBQ 


38 


OOOOOOOO 
39 


oBaxBjonooa 

"TDDDQBDDa 

OBOaOOOaBOD 
DDDBaaDBQDD 
DaBDDDDGDBjD 
DaDDBDDDBQD 
aaQBOQQOCDB 

SOOOgBOOOBO 
DDDBDDDDDC 
aaDDDBDDDB 

33 


36 


40 


41 


■oaoaBooaoc 

2DDBDDDCr_" 


42 


4« 


43 


4* 


(217) 


Standard  Weaves  for  Textile  Fabrics. 


K 


12  HARNESS.       8  PICKS. 


□□□DaOOBDBDH 
□■□■nHDQCaDD 
DODOOQaBOBOB 
DBQBDBDC 

■  ■  3 
BDBaBGD3QODa 
DanGDDBDBDBD 
BDBDBDDDaCCa 


nnnBOBBn 

■    ■  ■ 

□aDDBDBBCaBB 
BanpDBOBOBDD 
GBQBBGGBBGDD 

GaBQiaBaQBaa 

■■   BB     5BG 

Dl  3BGGB  )C  :    B 


nmr 

Daaj 

Tin 

n 

□BCX 
aaBaaa 

DUL 

B   1 

§bb 

GGCGBG 

aaanaBaaBai__ 

bb  a   fl 
CGBGOBaBBGaa 


_JGBaaBQQaaa 

BB  BB       B 
GGBaaaaaBBa 
GBBaaanaBaaB 

BGGGQGBBGBGa 


oaaBQGQ 

1      .BBDQ 

naaDBD 
jroaaaB 

DnBaaDDBDBDD 
nnBBDDGCB  G" 

SaaaBaBGGaa 
I  II  II  II  Bl  IBBI  II  I 


DBQDDBDa 


12  HARNESS. 


12  PICKS. 


9 


oaDnDDoacanB 

DDDDDDBDDDaa 

DBDDaanaDDna 
QDnDDDDDBaaa 
oaaBaaaaQDoa 
nnDDDDnDDaBD 

DaDDnBDDDDGD 

BDGDDDQQDQDD 
oaaoQDBaaon 

DDBDDDDnaDDD 
DDnDDDDDDBDD 
DDDDBaDDDDDD 


I   BB   S 
I    BB  B 


QBBOOI 
BB  B 

fE' 

DBGDI 

BGCBBBDDCI 


13 

IB  b  a  i 
DaDBDBGDDr 
DBDDDBDDQT_ 
DDBGBDDDHPa 

L:3yB:cnjpnB 

B    BBB  B 
B    BBB    B 
DDaBjnDBDDDB 
OOBBBCOJBaBO 

BBB  B    B 

Tdddbdbddd 


14 

COBDDOBBDDBB 
DDDBaCBBDDBB 
BDDDBBaDBBCD 
OBQQBBPQBBOO 
BB  BB  B 
BB  BB  B 
~naBBDQBDDa 
_JQDBBQQQBQQ 

DDBBDQBncar- 

HCDBuCCBBCa 
QQDBQQBBGa 


15 

bbdddbbddcdb 
dddqbbqpdK 

CBCGBGuBOBCB 
DDBBDDDDBDBQ 
DDBBDDDBDBDD 
DBDQBCBDBCB" 

IDDDDBCBDaDL 
DDDBQBaCDDI 
GBCBDBGBanC" 
DCBDBnDDBBDD 

B  B      BB 
BDBGBDDBDDI~ 


■ 


16 

□ODBaOODC 

ddddbdddc 
dddddbdq: 

BDDDDCr^ 

□BQDDDI 

DDBDDDl 

QonBGBQaoDBa 
cddHBBdoccb 


17 

aDDDDBDDBDnB 

anQDBaaiDDBa 
naDBaaBDaBDD 

DDBDDDDDBDDB 

PBDaaaDBCDBa 


jnDDDaBDDBDD 
DDBaDBDDDDDB 

GBaQBaoonoBa 


BQDBDaDDDBDn 
DBaaBDDBDDa 

DBaDBDOBaann 
BDDBaaBGaDaa 


18 

B    BBCC  IBB 

DDGBBGBuBBDL 

:  bb^.".z.'---bb1::b 
laaaa 


aaaa 


s   B 
GGGB 

ID 

JG 

iaSc 
idbbdddod 


BB    B    SM 

OBBOOODQBbV 
gBB~JBGBBGC 


19 

aaBGGBaaBpaB 
QBaaBCBaaQBa 
bdobdqdbcbcd 
dqbddbdcbdob 

aBGBaaQBGGBG 

BaaGBQBaaBac 

DOBQOBD1  JBDDB 

BaaaBaaBDQBa 
GBGBaaBaaBaa 
aaBaoBaaBaQB 

B   B   B  B 

BGGBGGBGGGBG 


20 


21 

DBoaoBaai 

DBBDBOBp   L 

□  I   BB  B  B 
B  B  B    B   1 

BB   BB  B  B  G 
GBaQGBGGBBG 
TOBBOBOp 

SBOBOOQBQOl 
aaiBGBGBa 


22 

QQBOGGBOOOBB 

DODBOODBDDBB 

IGGGBGGBBGa 

jDDBDDDBBna 

-OBaaoBBGOBO 

GaOBOGBBGGGB 


B  .BBOOGBOG 

-_ DBBODBDOO 

joDBaaDBa 

GpBBDDDBaDDB 

nDDDBDaDBna 

"QBDDDBDDQ 


dbbddqoi 

DOlaDBD 


Standard  Weaves  for  Textile  Fabrics. 


i 

Doa 

DOC 

nnn 

1  1!  li 

(JUU 

Standard  Weaves  for  Textile  Fabrics. 


K 


12  HARNESS.        12  PICKS. 


49 


50 


51 


52 


CZBCZBZ^BjagBl 

■z_z«zz«  i  .  . 
z«z«  -  .■  ■  ■ 


■■■■■■■         ■■■■"■"■       ■■■■■-? 

■zzlc^zi-zB       ■  b  ■_  \__ :  .:■  .  ■  :       zzzzazazifczc 


■■■  ■■■    :z:         ■  ■        Mi 

K-aT17   v\vj5 


65 

IZZZZZZ 


66 


67 


i       s       ■  in       i 

■i     ■     :  ■  :zz       ■  ■  1       bb 


,220j 


Standard  Weaves  for  Textile  Fabrics. 


13  HARNESS.        13  PICKS. 


OOBOnODBODI 


TbVTbJbI 


BOOBBB GOBCL 

alga     ■     ■■■ 

Bdbbbk_d1ct  Dal 
DDBanBWQD 
■■■     a     DOB- 

»■     ■■■ 
■DDBr" 

DaaBQDi 


■aDBDDDOBOn 
— "DBBBDDBa 


■■■ 


i  ....... 

B    B 


JppOG 

Sfl    ■       B    :   B    ■ 
■    B       ■    ■ 
fl    fl       fl       ■    B'l 

■    B       ■    B       B 
B    B       ■    '  fl    B'  H 


s 


I  ■     ■   ;j 

-BLGBCBjCCBQ 


naanDBBG 

DCDD 

^JnDnCBCDDDDB 

jgaGBBlDaapDBa 

DQDBQGDQDBBQQ 

aBBDDaDDBaana 
^DDDGBBaannc 

DnaODBDDDGaBB 
DDDflflJCIOODOBDC 
DOIDQQODBBEOD 


_JDaDDBDDDDD 
DDDODB-K-ODDQl 


JDimi  _ 

B   ■■  ■■ 

_.■■_■■   B_.BLJ 
B   ■   ■   ■■  ■ 
;  ■   EMI  UK   ■ 
III   B   ■   ■ 

■   ■   ■■  ■■ 
_BB  BB   ■   B 

BB   ■   ■   ■■ 

■   ■■  ■■   B 
■BQBBUQBQOBOa 


12 


■QDnnBjBaOBQD 
HlODBBoOOr    - 


UnaanDBBBinD 
OOBQBjaonQQ 

DQDaBBBDDBDB 
OG1oBODOOOBB__ 

n  flflfl  ;   he  . 

B9B       B 
"DDDDDi 

XDBDBC 

M  DiGDDDDBBlBa 
DBDDDD 


JaaBa 

QDOBBl 


DQDDDl 


BB  :b         ■  fl 

jDBDDDDBBBIDBD 

DDBBBCBDDCiBDD 

■  ■  BBB 

B_OaQBBBCBDD[ 
■fl    ■    "^BCDDD 
B  Oflfl    ■ 

7       flflE    ■ 
BDBDDDr 

□■ddddI 

■■■  ■       fl 
■       ■  flflfl 

CCCCBBBJCBQCCB 


□BBBEBCC 


naclD 


■■■    fl 


IDBD 

IOBODDDDQId 
■  -■BB — 


am  ■■■  ■ 
■    ■  :  DClDBJ 

fl    Bflfl    ■ 

I  ■  :   ~CBQBB) 


DC 


BBBCB"L" 

_CCBQBBI 


15 


Sana 
QOl 
ODBa 

DOBQ 

i   fl  H 
■  ■  B  ]  2 
QBDClaDBDBG 

ESiSF 


■  b— ;-•■"■■■ 

ana  a 

:■  ■■■  '  ■  j 
OBnannioai — 

BBT- 


BDBGBGDBaQBD 
..B_.BB.fl 


:bjql_ 

jBGBjalaDaci 

i_fl  a 


3BCBQ 

DBCiCDCDBQCCB 
BCJDQBaBDiOQDC 

■qdqdi  dbqbd 


■ 


_._. 


.0 


(221) 


222  DESIGN  TEXTS. 


THE  DISSECTION  OF  A  FABRIC. 

Textile  design  may  be  divided  into  two  important 
parts,  (a)  designing-,  (Z>)  dissection  and  analysis.  Design- 
ing consists  in  the  building  of  fabrics  from  designs  more 

i.  or  less  original  and  the  textures,  weaves  and  colors  are 
limited  only  by  the  yarns  and  looms  under  the  designer's 
control.  Dissection  differs  radically  from  designing  in 
that  the  designer  must  reproduce  another's  ideas,  allow- 
ing but  little   originality. 

In   order   to   produce    a    perfect    reproduction   of   a 

3.  fabric,  two  points  should  be  considered  ;  first,  a  thorough 
knowledge  of  all  branches  of  designing;  second,  a  theory 
of  the  many  calculations  necessary,  and  the  most  ex- 
pedient manner  in  which  this  theory  may  be  given  prac- 
tical use. 

Many  designers  perform  their  work  without  any 
attempt  at  method,  causing  great  inconvenience  to  them- 
selves, and  resulting  in  a  useless  waste  of  material  and 
time.  Judgment  acquired  by  experience,  and  assisted 
by  method  in  daily  work,  leads  to  economy  which  is  one 
of  the  foundations  to  a  successful  career  in  mill  life. 

The  principal  facts  necessary  in  the  analysis  of  a  fa- 

s.  brie  to  be  reproduced,  are,  the  nature  of  the  fibre  from 
which  the  yarn  is  spun,  the  quality  of  the  yarn,  the  twist 
or  turns  per  inch,  the  colors  in  a  pattern,  the  weaves  used 
to  produce  the  desired  effect  and  the  character  of  the 
various  finishing  processes.  These  should  be  carefully 
ascertained  in  order  that  a  perfect  reproduction  of  the 
original  fabric  may  be  produced. 

Previous  to  the  dissection  of  a  sample,  the  fabric 
should  be  classed,  and  the  face  back,   warp   and   filling 

'•  determined.  Fabrics  are  classed  according  to  the  pur- 
poses for  which  they  are  intended,  and  the  principles 
used  in  the  designing.  Backed,  double  and  triple  cloths, 
which  are  single  cloths,  increased  in  weight  by  the  addi- 
tion of  extra  warps,  fillings,  or  warps  and  fillings,  are 
easily  classified  by  their  general  appearance  and  weight. 
Single  cloths  presents  but  little  difficulty,  and  may  be 
classed  as  such  at  a  srlance. 


DESIGN  TEXTS.  223 


Determining-  the  face  and  back  of  the  fabric  often 
requires  considerable   judgment  and   experience.     The 

9.  face  of  the  cloth  is  often  napped,  which  affords  one  of 
the  best  tests  for  determining  the  face.  Another  test  is 
the  "draw"  and  "bite,"  caused  by  shearing  which  is 
noticeable  on  the  face  of  the  fabric.  The  "draw"  is  the  10. 
smooth  feeling  experienced  when  the  fingers  are  passed 
in  the  direction  of  the  warp,  and  the  "bite"  is  the  slight 
resistance  encountered  when  the  fingers  are  passed  in 
the  opposite    direction    of    the    warp.      Worsted   dress 

n.  goods,  and  similar  fabrics,  are  often  confusing,  the  face 
and  back  presenting  almost  the  same  appearance, 
although  but  little  difficulty  should  be  experienced  if  the 
"draw"  and  "bite"  test  is  used.  Union  goods  are  gene- 
rally woven  with  the  animal  fibres  more  prominent  on  the 
face  of  the  fabric.  The  face  of  double  cloths  woven  by  12. 
the  so-called  "two  and  one"  method  is  finer  than  the 
back,  and  generally  worsted,  while  the  back  is  a  coarser 
woolen  fabric.     Double  cloths   woven    by    the    "one   and 

13.  one"  method  are  more  difficult  to  determine,  as  the  face 
and  back  are  usually  of  the  same  counts  and  grade  of 
yarns.  The  face  yarns  arc  often  stronger  and  better, 
and  this  fact  often  distinguishes  the  face  from  the  back. 
The  "draw"  test  is  perhaps,  the  best  to  use. 

Warp  is  determined  from  filling  in  many  ways.  A 
portion  of  the  selvedges  in  the  sample  decides  the  warp 
at  once,  but  if  the  sample  is  cut  so  that  no  part  of  the 
selvedges  is  present,  any  of  the  following  tests  should  be 
sufficient  to  determine  the  warp  from  the  filling. 

1.     If  the  yarn  is  double  and  twist  in  one  direction,     m. 
and  single  the  other,  the  twist  yarn  is  the  warp. 

14.  2.  Warp  yarn  is  generally  harder  twist  than  filling 
yarn. 

3.     Starched  yarn,  if  only  in  one  direction  denotes     is. 
the    warp.       Starch,    or    size,    is     applied    to    warp    to 
strengthen  the  yarn. 
16.  4.     Reed  marks  are  always  in  the  direction  of  the  warp. 

5.  If  the  yarn  is  straigth  and  regular  in  one  direc- 
tion, and  rough,  loose  and  displaced  the  other,  the 
straighter  yarn  will  indicate  the  warp. 


224  DESIGN  TEXTS. 


6.     If  one  set  of  yarns  is  finer  than  the  other,  the    h>. 
finer  yarn  will  usually  be  the  warp. 
16.  7.     Nap  always  runs  in  the  direction  of  the  warp. 

16.  8.     Stripes  are  generally  formed  by  the  warp. 

9.     Fabrics   woven   with    yarns    right   twist   in   one 
direction,    and    left  twist   the  other,    invariably   may    be     14. 
considered  as  being-  woven  from  a  right  twisted  warp. 

Exceptions  to  these  tests  are  seldom.  Varying  con- 
ditions arise  in  many  fabrics,  and  the  cause  is  generally 
so  pronounced  that  little  examination  is  required  to 
determine  the  warp  from  the  filling.  Warp  yarn  is 
it.  usually  finer,  stronger,  of  better  material,  and  harder 
twisted  than  filling  yarn. 


THE  DISSECTION  OF  A  FABRIC— QUESTION  SHEET. 

1.  Define  the  term  "designing." 

2.  How  does  dissection  differs  from  designing? 

3.  What  points  should  be  considered  when   producing  a  perfect  repro- 
duction of  a  fabric? 

4.  What  advantages  are  gained  by  method  in  designing? 

5.  Name  the  principle  facts  necessary  in  the  analysis  of  a  fabric. 

6.  What  must  be  determined  previous  to  the  dissection  of  a  sample  ? 

7.  How  are  fabrics  classed? 

8.  How  are  backed,  double  and  triple  cloths  classified  ? 

9.  How  does  the  nap  on  the  face  of  a  fabric  assist  in  analyzing  ? 

10.  Define  the  terms  "bite"  and  "draw." 

11.  How  is  the  face  of  worsted  dress  goods  determined  ? 

12.  Describe  the  general  appearance  of  union  goods. 

13.  Compare  the  yarns  in  double  cloths  woven  on  the  1  and  1,  and  2  and 
1  systems. 

14.  How   does  the   twist   in   a  yarn   assist   in   determining  the  warp  or 
filling  in  a  sample  ? 

15.  Does  starch  yarn  denote  the  warp  or  filling  ? 

16.  Describe  the  following  tests  for  warp  or  filling;  reed   marks;  nap; 
stripes;  counts  of  yarn. 

17.  How  does  warp  yarn  usually  differ  from  filling  yarn? 


DESIGN  TEXTS. 


CLOTH    ANALYSIS. 


Date. 


Qetuict  $&>   'ft* 


Name,  ... 

Pattern  No I  00- 

Fabrie,  \\0V5tcA    Suiting 

Data     one  square  *f*—  L5  grains. 

7<2-         Threads  per  inch  finished=z •  7 grains. 

Total  warp  shrinkage,  +  O  la In  weaving. 

Total  filling  shrinkage,  *  ©  Jo  /«  wealing. 


&.&■.<& 


O: 


Add,  for  selvedge,  to  finished  width,    ttlutt 

Remarks,  ..., ■«., 


r 


Width  within  selvedges, finished,z=  2.8" 

OO  Picks  per  inch  finishedz=  JlL  f  raits 

.     In  finishing, _ 

fn  finishing,     . 

JZ. threats. 


Weigh,  of  , 
Pick  out. 


yard  inside    selvedges, 
b'b. 


ANALYSIS. 
C8»o6»/.3-r  <UOsi  - 

3.     Drawing  in  draft  and  chan 


4      System  or  dressing   of  warp. 


White... worsted. 

3latls         -    

Pmlv    -r 


3  Z. 
n>^       b 


_ beUovx 

System  or  scheme  of  filling,. 


Z.S9S  oz    . 


Blue 

White. 


.h 


Li 


.2.4. 


.../.<£.., 


6      Threads  in  varp,Z&*lZ  '    2-01  b 7.      Threads  in  pattern,  G&    8.     Patterns  in  warp,  ZOItpJ-  Z4zQ4 

9      Sue   {counts,  or  run.)  of  warp  in  finished  doth. 7A.H.700O  -r  .  7  *  36  *  360»    35.714-  _ 


10     Site,  {counts,  or  run.)  of  filling  in  finished  doth Aa  »  foot*  -r  .£>  *  5A  m  SLo  ',34  7<?ift 


WKttc  io»S4  =.   340  >'fc  ~'iS.]i4-.sUo  -  .^72. 

11       Weight  of  warp  yarn  in  one  yard  of  finished  doth,    ~SAosJlK  I2»84      I008«  '6  i  is.li*.  »  J'60  5_  .006 

Pink  <»84  64  »'<>  ^3^.7/4.  s"6o  =  .067 

.     SUlorr     1-84  f^n,lh*XS.Jimrn,Jho.   .  -Q^7_ 


jJatnsa 


18      WnyA/  of  filling  yam  in  one  yard  of  finished  doth,  BVoe' 640  » li»  T..  3.4.7.2A.?  J&Q U tfe9» 

bo*  2.S     --  liao _ White  .84.0*  It t.  34.722  V.S60  ■ •>9! 


RECONSTRUCTION. 

IS       Wu/«  >»  loom,  including  selvedges, 2.8+1=  29   +  6%  J"        3C\74 _ 

14.     Reed.  2tuk  *  73  .  J  AHA  *  -*/>?4 »         4>4>4-4l 

/J      Approximate  sue  of  original  warp  yarn,  i.  e.  in  loom,  3£7'4- 4- 6"/u     »        37.856 

/*>.     Approximate  size  of  original  filling  yarn,  i.  e.  in  loom,  .        34.722  +  6%     c  .36. 805 

77       Picks  per  inch  in  loom ,  60  

J8       Weight  of  each  color  of  warp  yarn  in  loom,  induding  selvedges,\X)s\\Xe      9l  2  «.  it  ±_3Z&£6*  £&£  '    .688    +6%    •  .729 

Blavk     IOOS»  it -r  37.856 -560-    .760 ...*6%    •,8o3 

— - -...- ...TmK         84 «  It,  *  57.856-^o  j   .060   -Is'/.   LaSkZ 

.HelLau     84  <  it,  i  i7.*S(,'S6o  ■    Q65  .-6%   -.Obi 

19       Weight  of  each  color  of  filling  yarn  in  loom,  indnding  sdvedges,  I.6&&  < 

to  »  30.74  -/844  t  *z  *  BiZ.i.  Blue        9C2.£«/6+ J6.8oy«56o  •  .  Jit, 

-    .  .YVhiU     9S2.2.»;t-r  JA.8oS>JT6o  -  -T^t, 

/  432. 

(     Weight  of  one  yard  of  dolt  in  loom, Lt>m&.rM3Z      -  3./00    02. 

ao{ 

[    Proof.. _.._ _ 2J«J6».tS  -r4.37..>    "  3T'Q| 


226  DESIGN   TEXTS. 


CLOTH     ANALYSIS. 

zfefc,  QctaWir,  I, IIQ^L Mm*.  CKtulta  l\oaAii, 

Pattern  ^.....l.tia  X-. 

Fabru,  WouteA  XXtt%%  Goocb. _ ..... - 

Data  :  one  square  inchz=. <v*.  1 grains.  Width  within  selvedges,  finished,= v  tj ■ » 

I  U        Threads  per  inch  finished^ 1*0 grains U  -  O Picks  per  inch  finished:= V .»..*» grains 

Total  warp  thrinkagv, V> /.ft In  weaving, In  finishing,  „ 

Total  fitting  'Shrinkage, Vq    |Q ......  .    In  weaving, In  finishing,   _„ 

Add,  for  selvedge,  to  finished  width* L" =      -TO HWt\ threads. 


ANALYSIS. 

t.     Weight  of  one  yard  inside   selvedges,     3V\^l)  X  .2x.mX  "T  4VI.V    = V »  IbAa A    OtMVCtSi. 

2.     Pick  out, 3.     Drawing  in  draft  and  chain, 

4.     System  or  dressing  of  warp. 


5.     System  or  scheme  of  filling 

: i\6&...iw\&i .u 

&ncs&xv  Tm*t IV 


6.     Threads  in  »ar/v$jj  X  iO=2.X$0  7.     Threads  in  pattern, 2»  fc 8.     Patterns  in  warp,  ZiZ  30* 2kfc"40^& 

9.     Size,  (counts,  or  run,)  of  warp  in  finished  doth, „ „ 

lQM00Mi,lx3&x5ka=Aax^fc _ 

10.     Size,  .{counts,  or  run,)  of  filling  in  finished  cloth, 

a&xlOOG±..V.A^.3G.x..5ElQ..=..3...A^4 


11      Weight  of  warp  yarn  in  one  yard  of  finished  cloth _ _ 

3.a.^l».>..Vfe.±.\ft.£.a£..x..5£0=...4...V'lii...ft«*vtts... 


13.      Weight  of  filling  yarn  in  one  yard  of  finished  cloth, _ „ 

.- ^.x.4^x\fc.±.S.^^A.x.a£0=....l.,...':\^..3...Q«»tfea 

- - - - 8.&C3  owntti. 

RECONSTRUCTION. 

13      Width  in  loom,  including  «/»^«,....3.3.+.l..T.A0..  +  ..l(o..7«.!7...4.jL*A..l!l(\tVit«». 

15.  Approximate  size  of  original  warp  yarn,  i.  e.  in  loom,      I  O.  L  J  B    '    to   7°  =    1  a  •  OlA 

16.  Approximate  size  of  original  filling  yarn,  i.  e.  in  loom,-   \J  .  H  t»4  .."f  U    1°  .."  .    «J  •   "  Otf 

17  Picks  per  inch  in  loom, JO _._.. 

18.  Weight  of  each  color  of  warp  yarn  in  loom,  including  selvedges, _. 

ft  veto     W*  10  V*H>±  VS.fl  11  .*  5  k0  - .  1 . 3  £»&  +  W  %  =  & .  0  8  to ..amikml 

eu*K vi*uh  +io*Akh*.m*5v>o=  vovo^Vq-  fcaas* •• 


19,      Weight  of  each  color  of  filling  yarn  in  loom,  including  selvedges^ 

Ift.*4^.4-IV>N..*      &«wx    flOV.fc*\V>va.389*5t>0  =  J..304  ounce*. 
-       -  ^e4      805.  c  *.\V,.t9.389 *  5b0=  2>.  304 - 


{ 


Weightof one  yard  of  doth  in  loom, 40 ...*  Mb  x  jt>  .,1  ...T    4  &1  »  ^    =     8  .  8  8  io      Ounce* 

Proof,  ^.08fc±«w.A^?;^«^i04  +  Z,304=         8,8  81, •• 


DESIGN  TEXTS.  227 


CLOTH    ANALYSIS. 

Z^J!Hf\KM8\l.U   &JOM N„me, .  ..CWttVb  VWkW.    _ 

Pattern  No VQ5  ^ ....._ 

Fabric,  tfcWott  WuM^UMNu   „ _ 

Data  :  one  square  Au*=         \.1>S grains.  Width  within  selvedges,  finished,=i     Z\  u\Outv 

b4j        Threads  per  inch  finished—         .6  grain, 5*V_ Picks  per  inch  finished— .55  grains 

Total  warp  fhnn/Jgi;  -*■    &°U     In,  weaving,  In  finishing,  

■/.•talfillingTnm&fa.  S     b*W /n  wearing, — - In  finishing , 

Add,  for  scl-.edge.  to  finished  width.  '/«.  \*tf\\._ =      ...  S&.. AViVvvW* threads. 


ANALYSIS. 

Weight  of  one  yard  inside    setvedgtt,     ..  £,%  ».5b  *  V55  "h45T..5   .»._ ?..$33     01. 

Pick  out,      ^Wma  YtCAMC. jr.     Drawing  in  draft  and  chain,  . ..—. r — — 

System  or  dressing  of  warp,  __ .  -  _  .„ .„ 

JMftAt 2. i..... «. \ 

.Yc\\o«t  A _ \ 

SkWtYk 4- "t _ 6 

- 3B*A _A — A i, va  ..\oYaV 

System  or  scheme  of  filling,...*. .... _ 


CSlAWWL      Oi     MXOJC^ 


e      Threads  in  warp,  t,\*-\j\:-    \1ZA-.     7      Threads  in  pattern , V&. H.    Patterns  in  warp,  ttt&  *  » .'..  3b. 

9.     Stmt,  (counts,  or  run,)  of  warp  in  finished  cloth,   .__ .. 

.WtV\JMQ.*..&bv.8*&40  ..• ia.5\6 

10.     Si:e.  (counts,  or  run, )  of  filling  in  finished  cloth, ... _ „ 

-._..S*.*..I00O.i  5b  *. 55x8*0 ..: iS..\i.\ 

11       Weight  of  warp  yarn  in  one  yard  of  finished  doth,    _ ........ _ 

bA  » 2.1«ii».*..\&.5\B  »  6*ft     •         .     .  V\\  [  ol 


15.  Weight  of  filling  yarn  in  one  yard  of  finished  cloth, _ 

- frUfcVlhf  6B»TrM*Mfl  • \SS.\_^       

- — 1S36«.  \oUV 

RECONSTRUCTION. 

13       Width  in  loom,  including  selvedges, 4YI +.  .5..." -  S1«5   +.  bl«    ■     W.15  mtW> 

14.  Reed.  VT5.6  •>  56.  •  Ubo*           UbO  t  23.\5  ■  bo.3^  IwwS'm           bo.i]"J  S  2.      30AB&.      ..*%  stuX- 
17.     Approximate  si:e  of  original  warp  yarn.  i.  e.  in  loom,  io.b.6  ^8%  ..» 13.333 _ „ 

16.  Approximate  si:e  of  original  filling  yarn,  i.  e.  in  loom, 2.2^27  ♦  b"l»    •        2A030 

17.  Picks  per  inch  in  loom,  %\ _ 

15.  Weight  of  each  color  of  warp  yarn  in  loom,  including  selvedges,  VtifcU     4lb  *  lb  +  13.033  •  649  •  .39b2.  1  81.    -  .42.16  oi 

- ......... -  .XcXW    3B4*lbt  \3,333.64Q-   .i-UST.  i  81  -  .134.3   , 

- - «>W<v      Tb&'lk  I  1S.333-B40-     -liW  -  87.  ■    .-J&33 

- 5*A  ISS.*  lb  t   \3.3S3-840  •     .\SC6  +  tt,  -    .1974  V.fiVO 

19.      Weight  of  each  color  of  filling  yarn  in  loom,  including  selvcdges,\i\J\l     1&;.4S  *  4)  '  \b  i  £4.09*640    ■  .  fj()  « 

34*C3.\S-  \51*.V  -  VB  !  BIAS    . <e\W  A3;  45»  4}  «.lb'    £.4.03*6*0'  .2.1b     • 

— ^Oi\s    181,43  >&)»•  Iti    2.4.03-640-  .555 

^       l6;«<i)Mb^    £.4.09-640-                     .158     -     tfcfta 
II  eight  of  one  yard  of  cloth  in  loam, VB\Q  4-  U.43   =    5.053  U 


'{ 


20.  . 

Proof, 21.5  <  3b  »  L35  *  4S1.5    ■    3.054 


"?*oo\      .00\    ci  Wmvy 


228  DESIGN  TEXTS. 


CLOTH    ANALYSIS. 

Date,  NoVCtt\W...\,  VSfcA Name,  ...GWcXta  .V\oO(X^ 

Pattern  No \\"\, 

/■a«™,Y(oVs\tft..,0**ML&&O.A*. 

i 
Data:  one  square  inch=. l«B grains.  Width  within  selvedges, finished,  =       68 

.     67 Threads  per  inch  finished^. - grains .50 \ Picks  per  inch  finished^ 

Total  warp  slmilialfe,  -V    \0°l»  . In  weaving, .    In  finishing,  ' 

Total  fitting  uimmgv, .....    *  VOlo inweaving .— : .„,. In  finishing,   ... 

Add,  for  selvedge,  to  finished  width,  s= - -  threads. 

Remarks,    10b  \ncY\es>  \Aoc-\\  ^XXOAlp  ox  SAWa^  v    4.4  oyfcx\x\%   

\\\  wcVve-s  \a\v)fc   ..  Cvc&x^  ox  ^\W\x\(£A  a  ...6.4  ycivvx* 


ANALYSIS. 

Wright  of  one  yard  inside    selvedges 66  S  5b*  W6  ±  451.5     *    4.t4"{    0\mCC&. 

Pick  out,  16  *  A  ft 3.     Drawing  indraft  and  chain,  SAxOAC^\\  OT\    \6  VlOOC  V\t»^CI> 

System  or  dressing  of  warp _.,_ _ 


.Stack b a b 

"frW ......fa _ .= _b \«>. 


5.     System  or  scheme  of  filling, 


Same  as  veeve 


^ 


6.      Threads   in  UiarpffljZ&.Z.. .%Sla.     ...      7.      Threads  in  pattern,   1?U 8.     Patterns  in  warp,    f5t>  -r  16  ■  t)5. 

9.     Si:e,  (.counts,  or  run,)  of  warp  in  finished  cloth,    A^VftC-Vs  V0b«.7000    *  4.4  *  5b  *  5b0    =     8.5b4      

"B\\)t \\l  »"J00O  -*.£.4  «  3b«  5fco   -..  lb.059 

10.  Sice,  {counts,  or  run,)  of  filling  in  finished  cloth,  ^O.cYl  10b  !5  "J000  ±  4.4  *  5b  »  5b0    -      8.5b4 

"feW U\  *  1000-r   6.4  »  5b»  S.kSt...s ib.053 _ 

11.  Weight  of  warp  yarn  in  one  yard  of  finished  cloth,    

T5\txc\\ bvb5  vlb  *  6.5b4 «  5b0  _•       LMU  ,..  . 

Shift b.»..fea.*ib.±..ifa.oa9 » 5to .-- _1bii_  _y,9Jb.s>  oi. 

£2.      rfcf^///  of  filling  yarn  in  one  yard  of  finished  cloth, 

50*  £8  ..-.  840  4  IS  =  -^OfttWevns "EAacV. b  V.70  vlb  -r.8.5b4  *  5bO  ■= 1.454 

ftYvB bv.7©.vAb-7 .lb.059«  ,5_0...° J41     ;6.\8.\ 

4.144  oz. 

RECONSTRUCTION. 

1.?.      II Idlh  in  loom,  including  selvedges, 66  +  1.  »  6>6  ..."   l.\0  ." ..5  1.6  WlcYies  

u    Reed,  75b*  67  .- .78bA5»..6...-...64..545  +  6=.A6.fc-7 

15.  Approximate  size  of  original  warp  yarn,  i.e.  in  loom,    M5>\0n\s     6.5b4  *  UO  '  3XOO       "£>\\)e     lb.0S6  *  UO*  Y\.  bb4 

16.  Approximate  size  of  original  filling  yarn,  i.  e.  in  Awn.'ftWVv    &.»k>4  *  V.\0  •  9.2O0       ^>\vC     \b.056  "  l.\0  •   V"f.  bb4 

17.  Picks  per  inch  in  loom 50  - 

18.  Weight  of  each  color  of  warp  yarn  in  loom,  including  sehedges, 

:  78»  t  S.  '  391,3 "ftWYl    59C  *  lb  *  6.5.0O  x  5bO  -    1.2.11     «  UO   "l  \556  oz... . 

..TbWe .39V*..ib.ft.J-J,bb4 .»  5b0  ;     ■  b56  .«  Uo    ■     -b95_ 

..._ 1.846 ..  6  054  oi..... 

25.      Weight  of  each  color  of  filling  yarn  in  loom,  including  selvedges, - 

_.. 3\.8  ft.jSfts._9a."!  -i"  6  =  47S.5.        T5\oxV 478.5  "lb  f  6.E0O  *5b0  -._.....  1. 48b  01... 

.TbW, 478.5 ..vibV.l7.bb4"  5bo-  _JJ4__ 

6.£b0 

f    Weight  of  one  yard  of  cloth  in  loom, 6.0&4     *  Sl.&bO...:*...  4.664  O*. _ 

S°'  \  Proof, 66  «  ob  «  1.6  * .  45X5 a 4_.665...o*- 


DESIGN  TEXTS.  229 


ANALYSIS— COTTON  QINQHAH. 

Data: — 1  square  inch  weighs  1.35  grains;  width,  inside  selvedges, 
finished,  27.  inches;  64  threads  per  inch  finished  weigh,  .8  grains  ;  54  picks 
per  inch  finished  weigh,  .55  grains;  warp  take-up,  8</<  ;   filling  take-up,  6%. 

Add  one-half  inch,  32  white  threads,   to  finished  width  for  selvedges. 

1.  Weight,   in  ounces,  of  one  yard    of    finished    cloth,   inside  selvedges. 
(a).     Find  the  number  of  square  inches  in  one  yard  of  finished  cloth  by 

multiplying  the  width  in  inches  by  the  number  of  inches  in  one  yard. 

One  yard  of  the  fabric  analyzed  is  27  inches  wide,  and  one  yard  or  36 
inches  long. 

27  X  36  =  972  square  inches  in  one  yard. 

(6).  The  number  of  square  inches  in  one  yard  of  cloth  multiplied  by 
the  weight  of  one  square  inch  in  grains  will  give  the  weight  of  one  yard 
of  finished  cloth  in  grains. 

Square  inches  in  one  yard  of  cloth,  972;  weight  of  one  square  inch, 
1.35  grs. 

972  X  1-35  =  1312.2  grains. 

(r).  To  find  the  weight  in  ounces  divide  the  weight  of  one  yard  of  cloth 
in  grains  by  the  number  of  grains  in  one  ounce. 

7000  grains  =  1  pound.  16  ounces  —  1  pound. 

7000  -h  16  =  437.5  ounces  in  1  pound. 

Weight  in  grains  of  1  yard,  1312.2.  Grains  in  1  ounce,  437.5. 

1312.2  -s-  437.5  =  2.999  ounces. 

Formula:— (Width  in  inches  X  length  in  inches  X  weight  of  one  square 

inch  in  grains)  -*-  (grains   in   one    ounce)  =  weight   of   one  yard  of  finished 

cloth  in  ounces. 

2.  Pick  out. 

Designate  the  size  of  one  complete  repeat  of  the  weave  giving  the  num- 
ber of  threads  first  and  then  the  number  of  picks,  thus  : 

4X  4 
When  a  simple  weave  is  used  in   the    fabric    the  name   of   the  weave  is 
generally  given,  thus  : 

Plain  weave. 

3.  Drawing  in  draft  and  chain. 

Designate  the  number  of  harnesses  required  and  the  style  of  draft,  thus: 
4  harness,  straight  over. 

4.  System,  or  dressing  of  warp. 

The  dressing  of  a  pattern  should  be  given  in  detail. 
White  cotton     2     2  4 

Yellow  cotton      4  4 

Black  cotton  4     4  8 

Red  cotton  2  2 

—  18 


230  DESIGN  TEXTS. 


5.  System,  or  scheme  of  filling. 

The  same  principles  are  used  here  as  in  question  4. 

When  the  filling  pattern  is  the  same  as  the  warp  pattern  the  term 
"same  as  warp"    is  used. 

When  either  the  warp  or  filling  is  one  color  the  term  "solid"  is  used, 
followed  by  the  color,  such  as  solid  white. 

6.  Threads  in  warp. 

To  find  the  number  of  threads  in  warp  multiply  the  threads  in  one 
inch  by  the  width  in  inches. 

Threads  in  one  inch,  64.  Width  in  inches,  27. 

64  X  27  =  1728  threads  in  warp. 
Formula:      Threads    per    inch    finished  X   finished   width  in  inches  = 
threads  in  warp. 

Note:  All  calculations  in  the  Analjrsis  section  of  a  sheet  are  figured 
inside  selvedges. 

7.  Threads  in  pattern. 

The  number  of  threads  in  a  pattern  is  found  in  question  4. 
18  threads  in  a  pattern. 

8.  Patterns  in  warp. 

To  find  the  number  of  patterns  in  a  warp,  divide  the  total  threads  in 
warp,  inside  selvedges,  by  the  threads  in  a  pattern. 

Threads  in  warp,  1728.  Threads  in  pattern,   18. 

1728  -=-  18  =  96  patterns  in  warp. 

Formula:     Threads  in  warp  -f-  threads  in  pattern  =  patterns  in  warp. 

As  many  warps  are  dressed  in  sections  the  patterns  in  warp  should  be 
divisable  by  three  or  more  numbers  to  allow  for  complete  repeats  of  the 
pattern  in  each  section.  This  rule  generally  applies  to  woolen  or  worsted 
warps.  In  this  cloth  there  are  96  patterns  of  18  threads,  and  the  warp 
may  be  divided  into  three  sections  of  576  threads,  4  sections  of  432  threads 
or  6  sections  of  288  threads.  If  97  patterns  were  used  the  warp  could  not 
be  divided  into  sections  containing  complete  patterns  in  each  section,  tend- 
ing to  produce  an  imperfect  dressing  in  the  warp  when  placed  in  the  loom. 

9.  Size  (counts  or  run)  of  warp  in  finished  cloth. 

{a).  Find  the  weight  in  grains  of  one  yard  of  No.  1  counts  of  the  required 
class  of  yarn  by  dividing  the  number  of  grains  in  one  pound  bj*  the  num- 
ber of  yards  in  No.   1  yarn  in  one  pound  (cotton  840). 

Grains  in  one  pound,  7000.         Yards  No.  1  cotton  in  one  pound,  840. 

7000  -s-  840  =  8.333  grains  weight  of  1  yard  No.  1  cotton. 
(b).     Find  the  weight  in  grains  of  the  given  number  of    inches  of  No.  1 
yarn  (first  reducing  the  number    of   given    inches  to  yards)    by  multiplying 
the  weight  in  grains  of  one  yard  of  No.  1  by  the  given  number  of  yards  of 
yarn. 

Given  number  of  inches,  64.  Inches  in  one  yard,  36. 

64  -f-  36  =  1.777  yards  of  given  yarn. 


DESIGN  TEXTS.  231 


Weight  of  one  yard  of  No.  1  cotton,  8.333  grains.  Given  yards  of  yarn, 
1.777. 

8.333  X  1.777  =  14.8077  grains  weight  of  given  length  of  No.  1  yarn. 

14.8077  grains  is  the  weight  of  the  given  length  (1.777  yards)  of  No,  1 
yarn  and  .8  grains  the  weight  of  the  same  length  of  the  required  yarn.  The 
counts  of  the  required  yarn  is  equal  to  the  number  of  times  greater  the 
weight  of  No.   1  yarn  is  than  the  weight  of  the  required  yarn;  therefore, 

(c).  To  find  the  counts  of  the  required  yarn  divide  the  weight  of  the 
given  length  of  No.  1  yarn  by  the  weight  of  the  same  length  of  required  yarn. 

Weight  of  1.777  yards  of  No.  1  yarn,  14.8077  grains  ;  weight  of  1.777  yards 
of  required  yarn,  .8  grains. 

14.8077  h-  .8  =  18.509  counts  of  warp. 

Formula  :  (Given  inches  of  yarn  X  grains  in  one  pound)  -j-  (given 
weight  of  yarn  X  inches  in  one  yard  X  standard  number  of  required  yarn)  = 
counts  of  required  3'arn. 

64  X  7000  -=-  .8  X  36  X  840  =  18.518. 

Any  variation  in  the  results  of  calculations  is  due  to  limiting  the  work 
to  the  third  decimal  point. 

10.  Size  (counts  or  run)  of  filling  in  finished  cloth. 

The  same  principles  are  used    here  as  in  question  9,  substituting  given 
filling  data  of  number  of  inches  and  weight    iu    grains  for   the  warp  data. 
The  calculations  are  as  follows  : 

(a).     Yards  of  No.  1  cotton  in  one  pound,  840.    Grains  in  one  pound,  7000. 
7000  -s-  840  =  8.333  grains. 
(6).     Given  number  of  inches,  54.     Inches  in  one  yard,  36. 
54  -=-  36  =  1.5  yards  given  length. 
8.333  X  1-5  =  12.499  grains  weight  of  given  length  of  No.  1  yarn, 
(r)     Weight  of   1.5  yards  of  No.  1  cotton,  12.499  grains.      Weight  of  1.5 
yards  required  yarn,  .55  grains. 

12.499  -=-  .55  =  22.727  required  counts. 
Formula:     Same  as  that  used  for  question  9. 

54  X  7000  -*-  .55  X  36  X  840  ==  22.727. 

11.  Weight  of  warp  yarn  in  one  yard  of  finished  cloth. 

(a).  Find  the  number  of  yards  of  warp  yarn  in  one  pound  by  multiply- 
ing the  number  of  yards  of  No  1  yarn  in  one  pound  (standard  number)  by 
the  counts. 

Standard  number  (cotton),  840.     Counts  of  warp  yarn,  18.518. 
840  X  18.518  =  15555.12  yards  of  18.518  cotton  in  one  pound. 
Note  :     The  counts  of  the  yarn    designates  the  number  of  hanks  in  one 
pound.     The  standard  number  is  the  number  of  yards  in  one  hank. 

(b).  Find  the  number  of  yards  of  warp  yarn  in  one  yard  of  cloth  by 
multiplying  the  threads  per  inch  by  the  width  in  inches. 

Threads  per  inch,  64.  Width  in  inches,  27. 

64  X  27  =  1728  yards  of  warp  yarn  in  one  yard  of  cloth. 


232  DESIGN  TEXTS' 


(c).  Divide  the  number  of  yards  of  warp  yarn  in  one  yard  of  cloth  (b) 
by  the  number  of  yards  of  warp  yarn  in  one  pound  (a).  This  will  give 
the  weight  in  pounds  of  warp  yarn  in  one  yard  of  cloth. 

Yards  of  warp  yarn  in  one  yard  of  cloth,  1728;  yards  of  warp  yarn  in 
one  pound,  15555.12. 

1728  -h  15555.12  =  .111  pounds  of  warp  3'arn  in  one  yard  of  cloth. 

(d).  To  find  the  weight  in  ounces  multiply  the  weight  in  pounds  by 
the  number  of  ounces  in  one  pound. 

Weight  in  pounds  of  warp  in  one  yard  of  cloth,  .111.  Ounces  in  one 
pound,  16. 

.111  X  16  =1.776  ounces  of    warp  yarn  in  one  yard  of  cloth. 

Formula:  (Threads  per  inch  finished  X  width  in  inches  finished  X 
ounces  in  one  pound)  -r-  (counts  X  standard  number)  =  weight  in  ounces  of 
warp  yarn  in  one  jrard  of  finished  cloth. 

64  X  27  X  16  ~  18.518  X  840  =  1.777  ounces. 

Note  :  The  above  applies  only  when  the  warp  yarn  is  the  same  in 
counts.  When  the  warp  yarn  varies  each  counts  must  be  figured  according 
to  the  data  for  length  and  weight. 

To  find  the  weight  of  each  counts  of  yarn  the  number  of  threads  of  each 
counts  in  a  pattern  is  multiplied  by  the  number  of  patterns  in  warp  giving 
the  number  of  3rards  of  each  counts  of  yarn  in  one  yard  of  cloth.  The  weight 
in  ounces  of  each  kind  of  3'arn  is  found  by  the  formula   previously  given. 

12.     Weight  of  filling  yarn  in  one  yard  of  finished  cloth. 

The  principles  used  here  are  the  same  as  in  question  11  substituting 
filling  data  for  warp. 

(a).     Counts  of  filling  yarn,  22.727.      Standard  number  (cotton),  840. 
840  X  22.727  =  19090.68  yards  of  filling  yarn  in  one  pound. 

{b).     Picks  per  inch   finished,  54.  Width  in  inches,  27. 

54  X  27  =  1458  yards  of  filling  yarn  in  one  yard  of  cloth. 

Note:  54  picks  per  inch  equals  54  inches  of  filling  in  one  inch.  In 
one  running  inch  across  the  cloth  (27  inches  wide)  there  are  (54  x  27)  1458 
inches  of  filling.  In  one  yard  of  cloth  (36  inches)  there  are  (36  x  1458)  42488 
inches  of  filling  in  one  yard  of  cloth.  To  find  the  number  of  yards  of  filling 
divide  by  36  (inches  in  one  yard). 

42488  -f-  36  =  1458  yards. 

Formula:      (Picks  per  inch  x  width  in  inches  x  length  of    one   3'ard  in 
inches)  -h  inches  in  one  yard  =  yards  of  filling  in  one  yard  of  cloth. 
54  x  27  x  36  -^  36  =  1458. 

This  formula  may  be  simplified  by  cancelling  both  36,  giving  as  the 
general  formula: 

Picks  per  inch  x  width  in  inches  =  yards  of  filling  yarn  in  one  yard 
of  cloth. 

{c).  Yards  of  filling  yarn  in  one  yard  of  cloth,  1458.  Yards  of  filling 
yarn  in  one  pound,  19090.68. 

1458  -i-  19090.68  =  .0763  pounds. 


DESIGN  TEXTS.  233 


(d).     Weight  in  pounds  of  filling  yarn,   .0763.     Ounces  in  one  pound,  16 

.0763  x  16  =  1.2208  ounces  of  filling  in  one  yard  of  finished  cloth. 

Formula:  (Picks  per  inch  x  width  in  inches  x  ounces  in  one  pound"*  -J- 
(counts  x  standard  number)  =  weight  in  ounces  of  filling  yarn  in  one  yard 
of  finished  cloth. 

54  x  27  x  16  -^  22.727  x  840  —  1.221  ounces. 

The  weights  found  in  questions  11  and  12  should  equal  the  weight  found 
in  question  1. 

Question  11.     Warp  weight,     1.777. 
Question  12.     Filling  weight,   1.221. 

Total,  2.998  oz. 

Question  1.     Weight  of  one  yard,  2.999  oz. 

Proof  (light),  .001 

When  the  filling  yarn  varies  in  counts  the  process  explained  in  the 
note  to  question  11  is  used. 


RECONSTRUCTION. 

(13).     Width  in  loom,   including  selvedges. 

(a).  Find  the  width  of  finished  cloth  including  selvedges  by  adding  the 
width  of  the  selvedges  to  the  finished  width. 

Finished  width,  27  inches.  Width  of  selvedges,  yz   inch. 

27  +  %  —  21%  or  27.5  inches. 
(b).     Find  the  width  in  loom  by  adding  the  filling  take  up  to  the  finished 
width  including  selvedges. 

27.5  +  6%  =  29.15  inches  loom  width. 

Note  :  The  width  of  the  cloth  is  affected  by  the  filling  take  up  and 
the  difference  or  loss  in  width  is  the  percentage  expressed  by  the  filling- 
take  up.  The  finished  width  is  considered  as  100%  and  the  loom  width 
100%  +  the  filling  percentage.  In  this  cloth  the  loom  width  should  be  100% 
-f-  6%   (filling  take  up)  or  106%  of  the  finished  width. 

Formula:  (Finished  width  plus  selvedges)  x  (100%  plus  filling  take  up) 
=■  loom  width. 

27.5  x  1.06  =  29.15  loom  width. 

14.     Reed. 

(a).  Find  the  total  threads  in  warp  including  selvedges  by  multiplying 
the  threads  per  inch  in  finished  cloth  by  the  finished  width,  including 
selvedges. 

Finished  threads  per  inch,  64.  Finished  width  including  selvedges, 
27j£   inches. 

27.5  x  64  =  1760  threads  in  warp. 


234  DESIGN  TEXTS. 


(6).  Divide  the  total  number  of  threads  in  warp  by  the  loom  width  to 
find  the  number  of  threads  per  inch  in  loom. 

Total  threads  in  warp,  1760.  Loom  width,  29.15  inches. 

1760  -j-  29.15  =  60.377  threads  per  inch  in  loom. 
(c).     Find  the  number  of  the  reed  by  dividing  the  number  of  the  threads 
per  inch  in  loom  by  the  number  of  threads  in  a  dent. 

Threads  per  inch  in  loom,  60.377.  Threads  in  a  dent,  2. 

60.377  --  2  —  30.189  reed. 

This  reed  is  expressed  ^/2  the  30  representing  the  reed  and  the  2  the 
number  of  threads  in  a  dent. 

Formula:  (a).  Finished  width  including  selvedges  x  threads  per  inch 
finished  =  total  threads  in  warp. 

(b).     Total  threads  in  warp  -*-  loom  width  =  threads  per  inch  in  loom. 

(c).     Threads   per   inch    in  loom  -=-  threads  in  a  dent  —  number  of  reed. 

15.  Approximate  size  or  original  warp  yarn  i.  e.,  in  loom. 

The  diameter  of  the  warp  yarn  decreases  from  the  finished  cloth  to  the 
loom,  according  to  the  take  up,  or  stretch  of  the  warp.  The  number  rep- 
resenting the  counts  of  the  yarn  increases  in  proportion  to  the  decrease  in 
the  diameter  of  the  jrarn. 

(a).  Find  the  approximate  size  of  the  warp  yarn  by  adding  the  warp 
take  up  to  the  finished  warp  counts,  or  multiply  the  finished  warp  counts 
by  100%  plus  the  warp    take  up. 

Finished  warp  counts,  18.518.  Warp  take  up,  8%. 

18.518  x  1.08  =  19.999,  approximately  20. 

Formula:  Finished  warp  counts  x  (100%  plus  warp  take  up)  =  warp 
counts  in  loom. 

16.  Approximate  size  of  original  filling  yarn,  i.  e.,  in  loom. 

The  filling  take  up  affects  the  diameter  and  counts  of  the  finished  fill- 
ing yarn  in  the  same  manner  that  the  warp  take  up  affects  the  warp  yarn. 
(a).     Find  the    approximate    size    of    filling    yarn  by    adding  the  filling 
take  up  to  the  finished  filling  counts  or  multiply  the  finished  filling  counts 
by  100%  plus  the  filling  take  up. 

Finished  filling  counts,  22.727.  Filling  take  up,  6%. 

22.727  x  1.06=  24.090. 
Formula  :      Finished  filling  counts  x  (100%  plus  the  filling  take  up)  = 
loom  counts  of  filling. 

7.  Picks  per  inch  in  loom. 

In  a  "take  up"  sheet  the  picks  per  inch  finished  and  in  loom  are  ap- 
proximately the  same. 

Picks  per  inch  in  loom,  54. 

8.  Weight  of  each  color  of  warp  yarn  in  loom,  including  selvedges. 
The  weight  of  warp  yarn  in  loom  is  found  according  to  the  instructions 

given  in  the  note  to  question  11  substituting  the  loom  counts  for  the  finished 
counts,  and  using  the  total  number  of  threads  in  warp. 


DESIGN  TEXTS.  235 


(a).     Find  the  number  of  yards  in  one  pound  of  warp  yarn. 
Counts  of  yarn  in  loom,  19.999.  Standard  number  (cotton),  840. 

19.999  x  840  =  16799.16  yards  warp  yarn  in  one  pound. 

(6).  Find  the  number  of  yards  of  each  color  in  one  yard  of  warp  yarn 
in  loom  by  multiptying  the  number  of  threads  of  each  color  in  a  pattern 
by  the  number  of  patterns  in  warp. 

Patterns  in  warp,  96. 
Threads  of  each  color  in  a  pattern: 

White,  4;  yellow,  4;  black,  8;  red,  2. 
4  x  96  =  384  yards  of  white. 
4  x  96  =  384  yards  of  yellow. 
8  x  96  =  768  yards  of  black. 
2  x  96  =  192  yards  of  red. 
Add  the  selvedges  to  the  required  color  (white). 

384  +  32  =  416  yards  of  white. 

(c).     Find  the  weight  in  pounds  of  each  color  of  warp  yarn  in  one  yard 
in  loom  by  dividing  by  the  number  of  yards  of  warp  yarn  in  one  pound. 
White,        416-^  16799.16  =  .0247  lbs. 
Yellow,       384  -*-  16799.16  =  .0228  lbs. 
Black,  768  -=-  16799.16  =  .0457  lbs. 

Red,  192  -5-  16799.16  =  .0114  lbs. 


1.046 

((/).     Find  the  weight  in  ounces    of    each    color    by    multiplying-    the  re- 
spective weights  bj-  the  number  of  ounces  in  1  pound. 
Ounces  in  1  pound,   16. 
Weight  of  white  warp,  .0247  pounds. 

Weight  of  yellow  warp,         .0228  pounds. 
Weight  of  black  warp,  .0457  pounds. 

Weight  of  red  warp,  .0114  pounds. 

White,  .0247  x  16  =  .3952  ounces. 

Yellow,         .0228  x  16  =  .3648  ounces. 
Black,  .0457  x  16  =  .7312  ounces. 

Red,  .0114  x  16  =  .1824  ounces. 


1.6736  ounces. 
(e).     These  weights  are  for  the  yarn  upon  the  warp  beam.     To  find  the 
weight  of  each  color  in  the  woven    cloth  add  the  warp  take  up  to  each. 
White,  .3952  x  1.08  =  .4268  Ounces. 

Yellow,  .3648  x  1.08  =  .3939  ounces. 

Black,  .7312  x  1.08  —  .7897  ounces. 

Red,  .1824  x  1.08  —  .1970  ounces. 

Formula  :  (Threads  of  each  color  in  pattern  x  patterns  in  warp  x 
ounces  in  one  pound)  -»-  (loom  counts  x  standard  number)  =  weight  of  each 
color  in  one  yard  in  loom  (on  warp  beam).  Adding  to  this  the  warp  take 
up  =  weight  of  each  color  in  one  j'ard  in  loom  (woven  on  cloth  roll). 


236  DESIGN  TEXTS. 


White.  (96  x  4  —  32)  x  16  -=-  19.999  x  840  =  .396  ounces. 
Yellow,  96  x  4  x  16  -^  19  999  x  840  —  .365  ounces. 

Black,  96  x  8  x  16  -=-  19.999  x  840  —  .731  ounces. 

Red,  96  x  2  x  16  -f-  19.999  x  840  =  .182  ounces. 

White,  .396  x  1  08  =  .428  ounces. 

Yellow,  .365  x  1.08  =  .395  ounces. 

Black,  .731  x  1.08  =  .790  ounces. 

Red,  .182  x  1.08  =  .197  ounces. 

1  810  ounces  woven. 
The  selvedges  should  be  added  to  the  required  color. 

19.     Weight  of  each  color  of  filling  yarn    in    loom,   including  selvedges, 
(a).     Find  the  number  of  3^ards  of  filling  yarn  in  one  pound. 
Loom  counts  of  filling,  24.090.  Standard  number  (cotton),  840. 

24.090  x  840  =  20235.6  yards  of  filling  yarn  in  one  pound. 
(b).     Find  the  number  of  yards    of    filling    yarn    in    one  yard  of    woven 
cloth  by  multiplying  the  picks  per  inch  in  the  loom  by  the  loom  width  and 
dividing  the  result  into  proportionate  parts  according  to  the  filling  pattern. 
Picks  per  inch  in  loom,  54.  Loom  width,  29.15  inches. 

54  x  29.15  =  1574.1  j'ards  of  filling  in  one  yard  of  cloth  in  loom. 
This  divided  by    the    number  of    picks  in  one  repeat  of   the  filling  pat- 
tern =  patterns  of  filling  in  one  yard  of  woven  cloth  in  loom. 
1574  1  -s-  18  =  87.45  patterns  of  filling. 
Multiplying  the  number  of  picks  of   each    color    in    one    pattern  by    the 
number  of  patterns  =  number  of  j'ards  of  each  color  of    tilling  in  one  yard 

in  loom. 

White,         4  x  87.45  =  349.8  yards. 

Yellow,        4  x  87.45  =  349.8  yards. 

Black,  8  x  87.45  =  699.6  yards. 

Red,  2  x  87.45  =  174.9  yards. 


1574.1  yards. 
(c).     Find  the  weight  in  pounds  of  each  color  by  dividing  the  respective 
lengths  by  the  number  of  yards  of  filling  yarn  in  one  pound. 
Yards  of  filling  yarn  in  one  pound,  20235.6. 

White,  349.8  -4-  20235.6  =  .0173  pounds. 
Yellow,  349.8  -f-  20235.6  =  .0173  pounds. 
Black,  699.6  -h  20235.6  =  .0345  pounds. 
Red,  174.9  -j-  20235.6  =  .0086  pounds. 


.0777  pounds. 
(d).     Find  the  weight  in  ounces  of  each  color  by  multiplying  the  weight 
in  pounds  of  each  color  by  the  number  of  ounces  in  one  pound. 

Ounces  in  1  pound,  16. 
White,        .0173  x  16  =  .2768  ounces. 
Yellow,      .0173  x  16  =  .2768  ounces. 
Black,        .0345  x  16  =  .5520  ounces. 
Red,  .0086  x  16  =  .1384  ounces. 


DESIGN  TEXTS.  237 


The  filling  take  up  has  been  considered  in  the  width  in  loom,  there- 
fore the  above  weights  give  the  weight  of  each  color  of  filling  yarn  in  one 
yard  of  woven  cloth  in  the  loom. 

Formula:  (Picks  per  inch  x  loom  width)  -s-  picks  in  pattern  =  pat- 
terns of  filling  in  one  yard  in  loom. 

54  x  29.15  -+-  18  =  87.45  patterns. 
(Patterns    of    filling  x  picks   of    each    color    in    pattern  x  ounces  in  one 
pound)  ~  (counts  by  standard  number)  =  weight  in   ounces  of  each  color  of 
filling  in  one  yard  of  woven  cloth  in  loom. 

White,  87.45  x  4  x  16  ~  24.09  x  840  =  .276  ounces. 
Yellow,  87.45  x  4  x  16  -:-  24.09  x  840  —  .276  ounces. 
Black,  87.45  x  8  x  16  -h  24.09  x  840  =  .553  ounces. 
Red,         87.45  x2xl6  4-  24.09  x  840  =  .138  ounces. 


1.243  ounces. 
20.     Weight  of  one  yard  of  cloth  in  loom. 

The  weight  of  one  yard  of  cloth  in  the  loom  is  found  by  adding  the 
total  weights  of  warp  (including  take  up)  in  question  18  and  filling  in 
question  19. 

Weight  of  warp,  1.810  ounces. 
Weight  of  filling,  1.243  ounces. 

3.053  ounces. 

Proof:     To  prove  the  weight  of  one  yard  of  cloth  in  the  loom  find   the 
weight  of  one  yard  of  cloth  according  to  the  finished  data,  substituting  the 
finished  width  including  selvedges  for  the  finished   width. 
27.5  x  36  x  1.35  -f-  437.5  —  3.054  ounces. 


238 


DESIGN  TEXTS. 


CLOTH    ANALYSIS. 

Date,    5t^UvfcW    \,V50S.  Nam,,     £WAtbVW&\^. 

Pattern  No..      \G^>    X     

Fabric,    t0\\0\\  fow^Wvft. 

Data  :  one  square  inch  ^_            i.OJ                  grains.  Width  within  selvedges, finished ',=       JO  YYtf»\\t*k. 

Ol       Threads  Per  inch  finished^.             -D                 grains.            5t"       Picks  per  inch  finished^zz.  .jg                 grains 

Tola!  zf(t>p  Jttiul •!***,  D   io  .  /«  waving t fn  finishing, 

Total  fitting  .(I>f»<4<,  ^  le  fn  weaving, .    In  finishing,  ~  

Addjor  sekedge, to  finished  ziidth,  \  \\\0c\  =  5£>*W\\\fc Mwi*. 

Remarks,  _ _ 


Weight  of  one  yard  inside    selvedge 
Piek  out,  "^W\\  V&CttLt 

System  or  dressing   of  warp 


5.     System  cr  sehemc  of  fitting. 


ANALYSIS. 
5b  *  3b  -  \.55   t  4^1.5     ;  5.933    ovmceb. 

J.     Drawing  in  draft  and  chain,         Zi  \\0.\\\«.tjbCt>. 

1»\«\  

4;       <V  5  _ _.„ 


4. 


AB 


Su\W£,   0*5  \V\t  Vtttf  ^. 


6.     Threads   in  warp,  3b"-  bA  »   £»5Q4.     7.     Threads  in  pattern,  V6 

9.     .S;>f,  (counts,  or  run,)  of  warp  in  finished  cloth,    , 

b4  "1000  *  .5  *  3b*84Q - V&.5V.G 

10.  Size,  {eounts,  or  run,)  of  filling  in  finished  cloth,      

54M00Q-  .55»3b*  840    =  Z,Z.^L\ 

11.  Weight  of  warp  yarn  in  one  yard  of  finished  cloth,  


S.     Patterns  in  warp,  l&Wi  t  Id  =  \?lfi. 


IS.      Weight  of  fitting  yarn  in  one  yard  of  finiihed  cloth,  

..54  »  3b  *  lb  +  2.2^2.7,  «•  840  „s 


b4  *  3b  *  Vb  *  \6.5\a  »  840    s     &.5b9  ovmua _ 

l.b30    owtttto 3333  cv 


RECONSTRUCTION. 

li.      ll':dth  in  loom,  including  selvedges,     3b  +  .5   !    3b.5    x  LOT    =      33.055    \WC\\«£> 

M.   /?<«/.  3b.5»b4 -v 2,35b  ^  59.055  =  53.81  aWtoAs^wwcWuvW^    5981  *  &  "2.9.9  uuV. 

J5.  Approximate  size  of  original  warp  yarn,  i.  e.  in  loom,  \&.5\&   x  \.0B  =     \9.33'3 

to.  Approximate  si:e  of  original  filling  yarn,  i.  e.  in  loom,         SjSi.T&T,  *  \.0"l    -      2A.3\1 , 

17.  Picks  per  inch  inborn, 54 

IB.  Weight  of  each  color  of  warp  yarn  in  loom,  including  selvedges ^bX^t^W  \VA  «.\b  +  ViAW  «  640  *  .915    *  V.Ob  >  \.053  Or. 

S>W\\     128*8-   lOfA  ^t&.         Mb  Mb-  W«»9*&A0--  .2M  «  \.0B  =    ,Zb3  • 

Wto       SI  *  J  I      5vt-%»&-544-  «*&-     5A4Mb^.W>*&40,5\&  *U>&  =     553  - 

\l\\ow      »W"*=      512.  \t\W      St&«Jki  m99  » 8^0  -  .4&&  !   \.Q8  -  .52,7   - 

tt.      Weight  of  each  color  of  filtin/yam  in  loom,  including  selvedges,  ^IWcV     Ulll  »&«  lb ->"   £4.311  «■   840    =  .154- 

39.055  *54-  &108.914  1&--  VU.\1  fo(\  \\\.\\  *£,«.  lb  r   2A.il! »  840  ;  .  1&4  - 

WVttU      \\1.\1  -.4  »  Ib-^  2,4.511 »  840  *  .367  > 

\«VWx    inn  »4*lbv  M.5H»  840  '  .367. 

f     Weight  of  one  yard  of  cloth  in  loom, 3b.3  «•  5b   *  \.35   £    451.5     ;  4.054  ©WV*.ri> 


Aa^a„&M$       \.b33  +  .J.Ic5  +  . 553  ♦.. 52.1  * 


&.40& 


U\W^       .734  ♦M84  +.3fc-J  *  .5b1   -  I.b5& 


4.054  av>r\ccb. 


DESIGN  TEXTS.  239 


CLOTH  ANALYSIS 


D.,c....- °«tobar  1,   1906. Ntme Bfcrt-  KOOdy, m 

Pattern  No. 404  3 

Fabric,  Woolen  Suit  ing, 

Data:  one  squire  inch= ?*." grain*.  Width  within  selvedges,  finished,= 66    lnohes. 

• Threads  per  inch  finished= r»* grains. _52 Picks  per  inch   finished-^ ^'5 grains 

Total  warp,  Z*'J* "       In  w«ving & In  finishing, 80* -. 

Total  fiUing *VS* - _ _ 

Add.  lor  selvedge,  to  finished  width, I-   lnoh       ,    =    58  tlaO* threads. 

Remarks,    - - - - — „ _ 


ANALYSIS 


1.  Weight  of  one  yard  inside  selvedges. 66x56x3.6+437.5      -         16.588  Ounoes. 

,  D  .      4x4.   Casalmere  twill.  ,  _   .  .  ,  ,   ...  Straight  on  4.  4  bars. 

2.  Pick  out, 3.    Drawing  in  dralt  and  chain,  "^  '     2 

4.    System  or  dressing  of  warp, i — - 

. ..._ Blaok  woolen 11 11 83 

White  woolen 2  _2    24  threads  In  pattern 


5.    System  or  scheme  of  filling - 

Blaok  woolen  eolld 


6.    Threads  in  warp,  67  *.  5?    *M9S7.    Threads  in  pattern, 2* 8.    Patterns  in  warp,  5182+24  =133 


9.    Sixe,  (counts,  or  run,)  of  warp  in*  finished  cloth, - i 

„ 57  X  7000  f  2.1 .  x  36  x  1600  =   3.298  run 


10.    Site,  (counts,  or  run,)  of  filling  in  finished  cloth, 

52  x  7000  +  1.5  x  36  x  1600  ■   4.213  run 


11.  Weight  of  warp  yarn  in  one  yard  of  finished  cloth, 

First  formula; 57  x  56  x  18  +  3.298  x  1600  »  9.678  ounoee. 

Seoond  formula; 57  x  56  +329.8  = 9.678  ounces. 

12.  Weight  of  filling  yarn  in  one  yard  of  finished  cloth,  

First  formula;  52  x  56  x  16  *  4.213  x  1600   =6.911  ouneee. 

Second  formula;  52  x  56  +  421.3      =  6.911  ounoee. 

RECONSTRUCTION. 

13.  Width  in  loom,  including  selvedges. (56    Plus    1)   4    .85       =        67.058    Inches. 

14    Reedi 57  »  67     »    3249  +67.058     =    48.45  *  4    j»    12.11       12/4  reed. 

15.    Approximate  size  of  original  warp  yarn,  i.  e.  in  loom, _ 

,_.. 3.299  +.736 =    .    4.480  run.     


16.    Approximate  site  of  original  filling  yarn,  i.  e.  in  loonv_       . •..._ 


17.  Picks  per  inch  in  loom,  52   X    .80      =       41.6 _ 

18.  Weight  of  each  color  ol  warp  yarn  in  loom,  including  selvedges, 

Blaok  woolen     133  x  22    =    2926    ♦  56    =2982   +448    -6.656   *  .92    »  7.234 


,. _ whlto 

woolen 

133 

x  2      = 

266 

+  448 

=     .593 

+ 

.92 

■     .644 

oz 

7.249 

7.878 

oz 

19. 

Weight  of  each  color  of  filli 

Blaok  woolen 

ng  yarn 

67. 

i  in  loom, 

058  x 

41.6  A 

495.6 ...» 

.5.628  oum 

90S 

Warp  weight  7.878  ounoes 

20.    Weight  of  one  yard  of  cloth  in  loom.     Filling  weight        5.628  ouneee 


13.506  ounoes  +  .80   »    16.882  oz 
Proof;  67  x  57  X  8.8  ♦  437.6  •-      X6.885  oz 


